florida - ARTDISTRICTS Magazine

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ARTDISTRICTS
REVIEWS l NEWS l ART & MUSEUM GUIDE l MAPS
NO. 15 l december 2011 - january 2012
WWW.ARTDISTRICTS.COM
FLORIDA
2 ARTDISTRICTS l www.artdistricts.com
DECEMBER 2011 - JANUARY 2012 3
ARTDISTRICTS
No. 15 December 2011 l January 2012
FLORIDA
12 Noteworthy Exhibits and Events Surround 10th Edition of
Art Basel Miami Beach / By Jennifer Mangione Vogt
14 Collecting Latin American and Caribbean Art. An Interview
with Robert Borlenghi / By Joaquín Badajoz
20 The Fortress: First Art Storage Facility in South Florida
By Sophie-Annie Videment
30 A Conversation with Ramón Cernuda / By Margery Gordon
34 Suspended Between Utopia and Disaster. An Interview with
Jovan Karlo Villalba. / By Claire Breukel
38 L’Oriano Galloni. The Guggenheim Museum Welcomes the
Artist’s Sculptures in an Event Benefiting Arts for India
By Claire Fenton
46 Lélia Mordoch: Is Art an Antidepressant?
50 Anica Shpilberg: Fragments, Memories and Realities
By Raisa Clavijo
52 Rómulo Aguerre’s First Solo Show in Miami / By Irina Leyva-Pérez
60 Zadok Exhibits Complement Miami Art Week
By Jenifer Mangione Vogt
62 Mira Lehr: 209 Ignition / By Irene Sperber
64 Revisiting History / By Raisa Clavijo
74 Sculpt Miami / By Shana Beth Mason
76 Stefano Campanini Opens Wine by the Bay in Downtown
Miami / By Ashley Knight
78 NADA is the Opposite of Nothing. Deauville Beach Resort
Hosts the 2011 New Art Dealers Alliance Fair / By Irene Sperber
86 Social Shots
90 Art & Museum Guide - Florida
Cover page:
Chen Man, Year of the Monkey. 2004, From “Vision
series,” photography on transparent panel, 33.5”x35.25”.
© Chen Man 2004. Photo courtesy of Zadok Gallery,
Miami. / www.zagallery.com
Director / Publisher
José E. López
Editor
Raisa Clavijo
Contributing Writers
Sophie-Annie Videment
Shana B. Mason
Joaquín Badajoz
Claire Breukel
Jenifer Mangione Vogt
Claire Fenton
Copy Editors
Gregg Lasky
Veronica Smith
Margery Gordon
Ashley Knight
Irina Leyva-Pérez
Irene Sperber
Raisa Clavijo
Translator
Diana Scholtz Israel
Consulting Art Director
Eddy López
Graphic Designer Hugo Kerckhoffs
Photography
Raymond Hernández - Mariano Costa-Peuser
Jeff Hernández - Vicente Dopico
Senior Account Executive
María Nápoles
Marketing Coordinators
Raymond Hernández
Silvia Medina
ARTDISTRICTS is published bimonthly,
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WYNWOOD, The Art Magazine
Noteworthy Exhibits and
Events Surround 10th Edition
of Art Basel Miami Beach
The art world descends on Miami Beach at the beginning of
December for the 10th Art Basel Miami Beach, the most important art fair in the U.S. However, it’s by no means the only
venue for great art in South Florida during this time. Here are
some noteworthy exhibits, performances and events at—and
within traveling distance from—Basel.
While Art Basel Miami Beach hosts 260 of the world’s leading galleries, the show also includes events and art discussions
ancillary to the exhibit hall. Basel creates sectors, making it
somewhat easier to navigate this behemoth. For one, there’s a
collaboration with the Bass Museum of Art called Art Public
in Collins Park with art by renowned and emerging artists. Art
Nova presents artists’ newest work, and with Art Kabinett,
galleries house curated exhibits within their booth.
Through Art Basel Conversations art world heavyweights,
including leading artists, scholars, curators and collectors,
provide moderated panel discussions. On December 3rd at 10
a.m. there will be a local focus when MoCA Director, Bonnie
Clearwater, MoCA Director Bonnie Clearwater moderates a
collector’s panel, “Art Basel Miami Beach and South Florida:
A Decade of Transformation” that includes Martin Z. Margulies and Carlos de la Cruz.
Take a short trip north and the vibe changes slightly with a
shift to a younger crowd at New Art Dealers Alliance (NADA),
which assembles the world’s newest and strongest art galleries
dealing with emerging contemporary art.
Across the Bay and throughout Downtown, Midtown and
the Design District, Claire Breukel has curated “Get the Green
Light,” a scavenger-hunt exhibit that includes 10 Miami-based
artists charged with the directive: Make anything and make it
everywhere you want (See more at www.gspotartproject.com.)
In Downtown Miami, the Miami Art Museum hosts its annual “Party on the Plaza” at 7 p.m. on December 1st featuring
a performance by Rashaad Newsome, “Hair Affair & Five.” Its
annual ball begins at 7 p.m. on December 3rd at the Fountainbleau with a special “Crash the Ball” after-party beginning at
11 p.m. On view at the museum is a show of rarely seen work,
“The Return of FAITH! American People, Black Light: Faith
Ringgold’s Paintings of the 1960s,” which represents an artistic
exploration of race, gender and class.
Other major fairs take place in the Wynwood Art District,
including Art Miami, a showcase of modern and contemporary
art from 100 international art spaces. Across the way, SCOPE
presents 80 galleries in its unique tradition of solo and the12 ARTDISTRICTS l www.artdistricts.com
matic group shows presented alongside museum-quality programming. SCOPE shares space with Art Asia, which brings
galleries that present contemporary and emerging Asian artists.
The hip vibe continues at PULSE Miami, where second-year
Director Cornell DeWitt has expressed his commitment to local artists and interests, blended within its progressive mix of
renowned and pioneering global contemporary artists.
SCULPT Miami is the platform for large-scale indoor and outdoor sculptures with a focus on new tendencies in contemporary
sculpture and the use of original materials. Works appears within
the heart of Wynwood and also in front of the Red Dot Art Fair.
The Margulies Collection Warehouse proffers a new exhibit with works by Bruce Nauman, Yuichi Higashionna, Mary
Ellen Mark, John Baldessari, Ed Ruscha and Gregor Hildebrandt, amongst others, alongside permanent collection artists, such as Donald Judd, Magdalena Abakanowicz, Richard
Serra and Michelangelo Pistoletto. “American Exuberance”
appears at the Rubell Family Collection and showcases work
by 64 artists, including Frank Benson, Hannah Greely, John
Miller, Richard Prince and Ryan Trecartin.
Collector Lin Lougheed and New World School of the Arts
host “Rapture: The Day After” with a Cuban breakfast at CasaLin (www.casalin.org) on December 1st at 9 a.m. (word has it the
rum is usually gone by 10 a.m.).
Bernice Steinbaum Gallery will be at Art Miami with work
by María Magdalena Campos-Pons, and in their gallery will
feature Peter Sarkisian, Holly Lynton and Aurora Molina.
Black Square Gallery presents “Dream Catcher,” an annual
festival introducing artists under 40 from around the world.
David Castillo Gallery houses “Don’t Get High On Your
Own Supply,” including works by Samantha Bittman, Daniel
Gordon, Elena Herzog and Vik Muñiz.
Pan American Art Projects presents “Fragmentos” (Fragments), a solo show by Cuban artist José Manuel Fors, who
was a member of the legendary group Volumen I. Hardcore
Art Contemporary Space presents two exhibits: Gastón Ugalde and Milton Becerra. Now Contemporary Art mounts the
work of Brazilian artist Nelson Leirner.
The Lélia Mordoch Gallery presents the thought-provoking
“Is Art An Antidepressant?” celebrating the 21st anniversary
of her gallery. A “Self Curated Rirkrit Tiravanija Show” runs
at the Craig Robins Collection. The inimitable Cuban-American duo, Guerra de la Paz, has Miami-inspired work on display at Praxis International Art.
Harold Golen Gallery will have a selection of Pop Surrealist artists. LMNT presents “The Human Cloth,” which
includes works by Luis Valenzuela, Barry Gross, Tatiana
Blanco, Reinier Gamboa, Angel Vapor and others. Zadok
Art Gallery has solo shows by Chen Man, Hunter Jonakin,
Lewis Tardy and the ever-fun and colorful work of Brooklyn-based painter Lori Kirkbride. Nektar De Stagni Shop
and Gallery Diet collaborate on “Hard Poems in Space” for
which artists and designers were invited to make functional
objects that will be collectively displayed as an interactive
social environment.
In the Design District, Etra Fine Art presents new work by
Francisco Zúñiga and Fernando de Szyszlo. “Undertow,” a
show of work by Jason Shawn Alexander, an L.A.-based expressionist painter, is at 101/exhibit. And, in a departure from
the generally expected, thought will be given to the “Bigger
Picture” at the de la Cruz Contemporary Art Space. Bas Fisher
Invitational presents “Richard Haley: Mary, Richard, Clouds
and Dirt” curated by artist Christy Gast. Haley’s environmental practice incorporates sculpture, video and actions.
Locust Projects presents “CORES and CUTOUTS,” Ruben Ochoa’s first Miami solo show in which he creates a
site-specific installation using the building’s substructure
as source material, along with Agustina Woodgate debuting site-specific artwork for billboards and bus shelters
around the city.
In North Miami, MoCA presents 25 works in “Mark
Handforth: Rolling Stop.” Inspired by everyday urban existence, Handforth’s sculptures are poetic, lyrical and wryly
comical. Also, in the fifth edition “Pivot Points,” the museum will mount Teresita Fernández’s large-scale installation,
Untitled (Swimming Pool). Donna Karan’s Urban Zen Foundation will have a pop-up store featuring artwork, jewelry
and home accessories by Haitian artisans. It’s well worth
making the trip outside the immediate vicinity of Miami to
a few special exhibitions and events. Westward, the Patricia
& Phillip Frost Art Museum at FIU hosts the ninth-annual
Basel satellite event, Breakfast in the Park, on December 4th
at 9:30 a.m. with artist Joel Perlman, who has been creating
complex sculptures out of steel, bronze, copper and aluminum since the early ‘70s.
About 20 minutes north, the Art & Culture Center of
Hollywood presents “Artist Unknown/The Free World,” a
first-of-its-kind exhibition featuring hundreds of images of
vernacular photography found online by Monteith and Wasow. On December 10th, they present New York Magazine
senior art critic Jerry Saltz. And, finally—well worth the 45
minute trip to West Palm Beach—the Norton Museum of Art
presents a significant exhibit of 28 canvases and drawings,
dating from 1992 to 2011 by British artist Jenny Saville.
These works have been infrequently exhibited and demonstrate Saville’s mastery of oil on canvas and her provocative
depictions of the human figure. Look for information on the
Saville exhibit in the ABMB catalog, too.
Jenifer Mangione Vogt is an arts writer based in Boca Raton, FL.
Visit her blog at www.fineartnotebook.com.
Jackson Pollock, Untitled (Composition with Sgraffito II), ca. 1944.
Washburn, New York. (On view at Art Basel Miami Beach 2011)
Art Miami venue at Midtown Miami (December 2010)
Jenny Saville, Reverse, 2002-2003, oil on canvas, 84” x 96.”
Courtesy Gagosian Gallery. On view at the Norton Museum of Art in
West Palm Beach.
COLLECTING LATIN AMERICAN
AND CARIBBEAN ART
An Interview with Robert Borlenghi
Italian-born Robert Borlenghi has become a main player in the promotion of Caribbean and Latin
American art in the U.S. since the 1990s. The man from Torino—this American Malraux, atypical
gallerist and passionate collector who doesn’t consider himself “a businessman in art”—reflects
on his life in the art world and offers keen, thought-provoking insight into some of the biggest
challenges facing artists and galleries in the age of the Social Media Revolution.
By Joaquín Badajoz
Joaquín Badajoz - You are an art collector turned dealer
turned gallerist. How did everything start? Was it an endeavour to support your passion at first?
Robert Borlenghi - I was a collector as a little boy. I had a
stamp collection when I was 10 and a butterfly collection before that. I started collecting paintings since my early 20s, and
the collection itself evolved, because taste and financial ability
changed. I started with the things I was familiar with…limited editions of Picasso, Miró, Chagall, and then evolved into
post-impressionist art, and finally contemporary art, mostly
from California and Latin America, because I have an affinity
to Latin America—I speak the language, and it was of a great
interest to me personally. I never really considered becoming
a professional in the field of the arts, and I’m not sure that I
am. My interest was to share my knowledge. That was really
the motivation behind my first gallery, which was dedicated
to Haitian art. And fundamentally that is still my motivation
today. I’m interested in showing things that I feel other people
should see and they don’t have the chance to.
J.B. - Why Haitian art?
R.B. - I went to the Caribbean for the first time in the early
‘90s, and I had never been exposed to all of that. At the time
I would have said that I was fairly involved in contemporary
art. I was a founding member at MOCA in Los Angeles and
served in the acquisition committee of LACMA, so I would say
I knew something about art, but when I went to the Caribbean
I saw things I never imagined. I think it was really a shock that
I didn’t know anything about this. I then realized how little I
really knew. At that point I decided that other people that were
familiar with the things that I knew probably didn’t have any
idea either, and I felt that they needed to see it. That’s really
what changed my life. Haiti really changed my life.
J.B. - I understand very well this strange sense of amusement and the need to share your discoveries. That’s what
art writers do on a daily basis.
Robert Borlenghi at Pan American Art Projects. Photo:
Fernanda Torcida.
R.B. - To give you an illustration, there was a very knowledgeable man about art in France. He was a minister of culture. His name was André Malraux, one of the most erudite
people who ever lived. He went to Haiti in the ‘40s and was
so shocked that he decided to tour a show of Haitian Art at
the UNESCO in Paris. And he did it. And basically Malraux is
responsible for putting Haitian art on the map. It was because
of that, because of that relationship that I felt with him—not
that I’m trying to equate myself to him in anyway, it’s impossible, but there was something that we have in common—that
I called my first gallery Malraux, as an homage to him.
J.B. - Do you remember the first piece of art in your collection?
R.B. - I remember the first, and the second, and the third that I
bought. But the first piece in my collection was one that I painted.
When I was 17, I won an award in the school system in Milan with that painting, because a famous art critic who was a
member of the commission that selected the winners felt that it
had ‘sculptural qualities.’ I got a silver medal with Leonardo da
Vinci’s head on it. I still have the piece.
J.B. - When you started Galerie Malraux in L.A. in 1990,
the gallery was focused on Caribbean (Haitian and Jamaican) art. Four years later the gallery moved to Dallas,
changing its name to Pan American Art Projects and adding
Cuban art (Vanguardism and contemporary) to its portfolio. What was the reason for this decision?
R.B. - That’s a multiple kind of question. First of all, the reason for the move to Dallas was very personal in the sense that I
moved my business to Dallas from Los Angeles—my real state
investment and development business. I didn’t want to give up
the gallery altogether, so a couple of years after I moved, in 1994,
we opened with a very large Cuban show. The name Malraux
did not fit anymore with what we were trying to do. The expansion into Cuban art was due mostly to the fact that in the early
‘90s a congressman from California, Mr. Berman, proposed the
law that was passed that allowed the importation of Cuban art,
the famous exception to the embargo. The law was tested in the
courts for a certain period of time. I finally spoke to Mr. Berman to make sure what was intended, because he inadvertently
had left out the word ‘painting’ in the text of the law, and that
was the reason for the legal test. When he reassured me that he
had meant to include paintings, then I decided that it was safe
to go to Cuba. So the expansion into Cuban art was basically
because there was such a curiosity on my part about Cuba. So
many people were talking to me about Cuba but I was not able
to go. Finally, I went and I was able to put together a substantial
collection from the beginning, and we opened a show with 400
pieces in 1994. We titled it “Cuba the Last Forty Years.” We
showed many important works by Romañach, Domingo Ramos and several people from academia, but a great amount of
the works was from the Vanguardia. It was still possible to find
them in Cuba. I acquired a great number of works in the ‘90s.
J.B. - Your gallery represents about 40 artists and works extensively with Cuban (living on and outside the island), Argentinean, Haitian, Jamaican and American artists. Are those the most
interesting places in American contemporary art in your opinion?
R.B. - I can’t say there are not very interesting works being
produced from Argentina to Central America, because there
are. This year we are working with a Colombian artist who
is currently having a show at MoLA in Long Beach who is
a fantastic artist. It’s just that our development is gradual. It
started in North America, it expanded in the Caribbean and to
Argentina for very personal reasons. We were fortunate to meet
Leon Ferrari before he became the Leon Ferrari at MOMA,
Leone d’Oro in Venice, etc. And we still work with him. So, it’s
not to say that those are the only places where interesting art
is being created, but there is no question that interesting art is
being produced in a lot of those places. I don’t think that what
is being done today, that I have seen in Haiti and Jamaica, is
at the same level as works done 20 years ago. But other places
will come up. And we are basically affected by our ability to
move and [do] as much work as we can do. Eventually I hope
that we will continue to explore arts in this general area of the
Americas, which is what is interesting to us.
Leon Ferrari, Woman, mixed media, 31.50” x 16” x 12”. All
images are courtesy of Pan American Art Projects.
J.B. - Art dealers and commercial galleries are commonly seen
as a phenomenon of the sphere of circulation, not an artistic institution but a mercantile node whose essence is dictated by the
market, a practical bridge between artist and consumers. Nevertheless, the hyperactive nature of the market has reshaped and
redefined the artistic trends in a more direct way than museums
or critics. What should be the role of the dealer nowadays?
R.B. - I don’t consider myself a dealer, and I don’t think that
most galleries are dealers. I see a dealer as someone who really
Pan American Art Projects is located at 2450 NW 2nd Ave. Wynwood Art District, Miami. Photo: Fernanda Torcida.
moves art back and forth, and sometimes art that he doesn’t own.
I think the function of the gallery today should be to be more collaborative and closer to museums. Obviously, there is a need for
the galleries to survive by selling art. But ultimately the purpose
of the gallery has to be to promote, to teach, to show. And to do
that I think there should be more relationships with museums, so
that art that is shown in museums is also shown in the galleries,
because we don’t live in two separate worlds.
J.B. - Pan American Art Projects is not a typical commercial gallery, but one that has received much praise for its
‘museum-quality shows.’ Despite this, the gallery has not
been accepted at any of the editions of Art Basel Miami
Beach. How is that possible?
R.B. - We were on the waiting list once (laughs). We still are a
very young gallery. I think that to get in, to earn admittance to
a place which is probably the most important one in the world,
in terms of art fairs, you have to prove yourself in a consistent
manner for a number of years. And I hope that we will. Slowly
I think that we are going to be getting [on] the radar of some of
the people who make this decision, and as they become more
familiar with what we do I’m hopeful that will change.
J.B. - Do you plan to apply for the next editions?
R.B. - Yes. Because it’s a duty I have toward my artists. I
have to try to get them in the best possible places.
J.B. - On the other hand, Pan American Art Projects participates in many international art fairs during the year.
Do the fairs still work as commercial platforms or are they
nowadays more focused on promoting and legitimizing artists and galleries on the international circuit?
R.B. - Well, both. Definitely art fairs give an opportunity for a
gallery on a commercial basis to sell art. We participated in two
new fairs just last month in Houston and Los Angeles, and we did
well in both financially. So, that is important. Realistically the art
fair market is an important market for a gallery. There are galleries that sell more in fairs than they do in their own spaces over
the year. So they are not insignificant from the financial point of
view. On the other hand, ultimately, as I said before, I think the
responsibility of the gallery is to promote the work, which entails showing it, and showing it in venues where it is not known.
That’s enough reason to participate in art fairs. People in Miami
may know what we do; people in Los Angeles have no idea, so
they don’t know our artists, and we take them there so they can
learn about them. So, the answer to your question is both.
J.B. - Are the art fairs a good deal for galleries to promote
art and increase sales or have they become a lucrative business for the organizers?
R.B. - It’s a risk. Every fair is a risk. You really don’t know when
you go how it’s going to work out. I assume that the organizers do
well (laughs)—I hope that they do. And I think it is good if they
have a financial success, because that will give them the incentive
to continue with their job. After all, if they don’t have a financial
interest they can’t do what they are doing, and I think that is important for the galleries that these venues exist. I can’t tell you
that we have been very successful in every fair we have done. That
would be a lie. But I think that it’s important to continue doing it.
Ultimately it’s necessary for the promotion of art.
J.B. - In the book The $12 Million Stuffed Shark: The Curious Economics of Contemporary Art, Don Thompson analyzes some trends in the art market: the artist as a brand,
the ridiculously high prices at which artworks of Damien
Hirst, Warhol, Koons, Emin or Pollock, to name a few, have
sold. Is contemporary art only about branding?
R.B. - No. I think that diminishes the image of the collector.
I like to think that the collector gives thought to what he is
actually collecting. Ultimately there are two issues there. One is
have to have art. Some are influenced by some sense of pride that
it is good to own something that people would recognize. That’s
a trick because it definitely comes into play. When people want
to have something that other people will appreciate you pay a
premium for it. There is no question about it.
Abel Barroso, La Visa, 2011, wood sculpture, 54.50” x 32.50” x 16”
who do we buy, and the other one is how much do we pay,
and you are addressing these two issues. I think the suggestion that people buy someone simply because he has become
popular, as I said, diminishes a little bit the intelligence of the
collector. Now, I would admit that not everyone has the time to
research many different fields of arts, many different artists or
places, and everyone is busy with their own things, so they take
shortcuts. And one of the shortcuts is to watch what museums
are doing and showing and what other collectors are doing. It’s
inevitable that if Saatchi buys Sandro Chia, people say, ‘Wait,
maybe I should look into that.’ Then of course Saatchi sells
Sandro Chia. It kind of makes it irrelevant, but it’s not. I mean,
people do follow because they need shortcuts. But ultimately
they make their own decision. And when it comes to how much
they pay, they really make that decision. I don’t think any gallerist can put a price on a work of art and expect that someone
would pay that amount just because he says so. People will pay
for it if they agree that it’s the fair price. Ultimately, people decide the price. I want to give a little bit of credit to the collector.
J.B. - I think Don Thompson talks more specifically about
the collector as an investor, not about passionate collectors
who really follow their instincts.
R.B. - Well, there are a lot of people who buy art not because of
the passion, but because they have the means, and they feel they
J.B. - Thompson also believes that artists, dealers and
auction houses have conspired to anoint certain artists,
thereby driving up their prices. Does he have a point or is
this in your opinion an exaggeration?
R.B. - I can only speak from my personal experience. I have
been buying and selling at auctions for 35 years. I have never conspired with an auction house. But I can say that the auction houses
must not be underrated or overlooked in the importance that they
have in setting prices. Of course, like always there is a financial
motivation: The higher the price is the higher the commission and
the higher profit for the auction house—that’s obvious. But again,
if the buyer does not agree, the piece does not sell. What happens
is if the piece sells for a little bit higher valuation than what the
auction house had estimated, the next time that artist appears at
auction the estimate will be increased but with justification—that
is the market, the public, that say we are willing to pay more. The
auction house is typically trying to keep the prices a little bit lower
than market, exactly for that reason, to create interest and to create overbidding. The overbidding results in higher prices the next
time, and it continues. If it goes down, if its sells much lower or if
it doesn’t sell, the next time they have to reflect that. I was reading
in The Art Newspaper the other day that the auction houses sell
half of the art sold in America. I didn’t realize it was that much.
That’s why I said that their function is very important, but as far
as a conspiracy I don’t see it. I haven’t seen it.
J.B. - Since you are one of the few Cuban-art dealers in the
U.S. who works extensively with Cuban institutions such as the
Cuban Fine Arts Museum, you are one of the most authorized to
talk about the topic. I personally think that this is not one of the
best moments for Cuban art. What is your opinion?
R.B. - I can’t disagree with you. I don’t think that we have
the same amount of very good production that Cuba had in the
‘70s or ‘80s. There are few groups, let’s say, of students that become artists together, that create together, that work often with
one another. There are individuals, however, several individuals, who are working in isolation, totally different from one
another, who are very good artists. This year we were fortunate
enough to add to our stable of artists two of them—Abel Barroso and José Toirac—and by Toirac I mean also Meira, who
is his wife, as they work together very often. These are fantastic artists, but they have practically nothing in common with
anybody else or with each other. There are still individuals that
are extremely good, Yoan Capote, for example. Some of these
really good artists like Capote and Garaicoa find the need to
go and live at least for part of the year somewhere else, like in
Spain, because in Cuba they don’t have the facilities, the materials to create what they want to create, but fundamentally
they are Cubans. I think there are still examples of individual
talent that is fantastic. But in general I agree that there is not
the quality or quantity as there used to be.
Luis Cruz Azaceta, Exile 50, 2009, mixed media on canvas, 60” x 144.”
J.B. - There are a lot of expectations and misinterpretations
about the Cuba-U.S. cultural exchange. What are the pros and
cons of this relationship?
R.B. - I understand, sympathize with and respect the position
of those who are opposed to loosening the U.S. embargo to Cuba,
and I understand the deep feelings involved, which make it difficult to isolate cultural exchanges. But art is exempted from the
embargo, and it has its place. I was very moved when I saw on
television, the day that Gaddafi was killed, a Libyan man wearing a cowboy hat and playing a guitar—you cannot find a more
pro-Western image. You can compare that to kids playing in the
streets in Havana wearing a Yankees cap: it makes you think
there is hope for the future. But I should speak about our modest experience. Cuban artist José Manuel Fors spent six weeks
in our apartment next to the gallery for artists in residence. He
produced most of the show here, using local materials. Indeed, we
could not have done this show if he was not allowed to travel. We
encourage our artists to travel, whether to the U.S. or China, to
complete residencies: It expands their views, and they contribute
in turn to bridging differences.
J.B. - Have you ever had any problem working with Cuban
institutions?
R.B. - Ultimately, problems are never with institutions, they are
with people. There has been a lot of progress made in Cuba by institutions in the sense of trying to be more accountable, more dependable. That is one problem that exists unfortunately with that
very controlled system. There is a risk of lack of accountability or
reliability. But as I said, things are changing, and they have even
made strides and improvements. So, overall I say no. As I said,
there can be problems at times with some particular individuals.
J.B. - We have noticed that Pan American Art Projects has broadened its niche. How do you visualize your gallery in five years?
R.B. - The overall interest will remain the same. ‘Pan America’
is what we are interested in. We need to fill some gaps, and I
hope that it’s something we will be able to do, to bring art from
Mexico, for example. It’s something that we can’t ignore. But
the overall interest remains the same, because fundamentally the
whole concept behind this gallery is the presentation of works
that come from different places together. So we can see how they
work together. We can see what influences one can have on the
other. And ultimately, we hope that they all become just one. No
black and white, just some gray that we all belong to.
J.B. - Could you name an artist that you are particularly interested in working with or representing in your gallery? Why?
R.B. - The illustration I want to give you is of an artist that
I think typifies what we would like to do. That is something of
beauty, something of serious substance, large in scale, not necessarily terribly commercial. And you can see an example here in
the show that opens tonight. These large pieces that I asked artist
José Manuel Fors to do for the main walls of the gallery are an
illustration of the scope of what we are trying to do. I think the
artist that best typifies my own personal idea about art is Teresita
Fernandez. It is an idea, as I said. She is represented by a very
good gallery in New York: one day I would like to work with
them to do an installation in Miami, where she is from.
J.B. - What are the main challenges an art dealer or gallery owner faces today?
R.B. - The huge challenge that we face is to be relevant, to
continue to be relevant in a world that has such immediate access to all the information that is available. And by that I mean
any person can contact any other person, any artist. And unless the artist has a deep sense of connection with the gallery it
becomes very difficult for a gallery to be able to survive in the
context of people being able to be in contact with any artist in
the world at any moment. I think that is something we all need
to address, both artists and galleries.
Pan American Art Projects is located at 2450 NW 2nd
Ave. Wynwood Art District, Miami, 33127. Phone 305
573 2400 / www.panamericanart.com
miami@panamericanart.com
Joaquín Badajoz is an independent art critic and writer based
in Miami.
The Fortress building in Miami, Florida is located at 1629 N.E. 1st Avenue, 33132.
The Fortress
First Art Storage Facility in South Florida
As the first art storage facility in South Florida, Fortress
knows how it feels to break new ground. In fact, its New York
location was also the first art storage facility there. But if you
think Fortress takes its standing for granted, you’d be wrong.
After 30 years, it still treats every client as its first.
“The Fortress has been in the business longer than anybody else,” says art dealer and collector Francisco Arévalo.
“This longevity gives the people working in the company
a strong knowledge which enables them to provide a very
unique service. I also appreciate very much the discretion
with which they carry out their business—it is very important in our field. In addition, at a more personal level, you
feel as a client that they really take care of you, that they
know you. I really like this friendly and yet extremely professional environment.”
This level of exceptional service provided by its team of
dedicated, long-time employees is rare to find in the industry. Just ask some of its clients what they think of the staff
and you will hear words such as “consistent,” “outstanding,”
“refreshing” and “unbelievable” in their description. Felipe
Grimberg, another art dealer and collector, concurs, “We have
worked together with the Fortress for more than 12 years,
and I am extremely satisfied with them. They are punctual, reliable and also very friendly. It is a trustworthy relationship.”
The same level of service that clients receive in Miami can
also be found at Fortress’ locations in Boston and New York.
In fact, the long-standing Miami-New York connection is
alive and well at Fortress, as many of its clients have a home
in both locations and feel comfortable knowing they can deal
with the same company in both cities.
In particular, there is a high demand from both Miami and
New York dealers during Art Basel Miami Beach. “Art Basel
fair week is one of my favorites,” says Fortress Vice President
Kimberley Jones. “Visitors and collectors come to Miami
from all over the world. There is a multitude of world class
art. It is a very exciting time in Miami.”
Fortress Miami recently completed an expansion and renovation of its private viewing gallery, which offers several options for displaying art depending on a client’s preference. It is
available year-round by the day or hour. Obviously, demand
is especially high during Art Basel Miami Beach, as, in addition to sales negotiated inside the fair, there are many private
sales being finalized during that time.
While hurricane season just ended and South Florida escaped without experiencing a major storm, Fortress’ collection management protocol is always proactive and includes
plans to deal with such weather effects throughout the year. In
fact, the company’s Hurricane Preparedness Program has been
an effective tool for collectors for 30 years, and it stresses the
importance for all collectors in South Florida to remain diligent and include the same or a similar strategy in their plans.
Javier Mora, a prominent international contemporary art
collector, started using Fortress’ services 10 years ago. “My
use of their services has evolved over the years from small
storage to full service,” Mora says. “Miami’s climate can be
devastating for art works, and my insurance company had
cancelled my policy because of the risks associated with the
hurricane season. So, every six months now, the Fortress employees pick up my collection, store it in their temperatureand humidity-controlled facility, and reinstall it after the hurricane season. I really like working with them. Everything is
Fernando Botero sculpture on display in Fortress’ viewing gallery.
smooth and easy. They are very good professionals who take
good care of the works. The Fortress is unique in Miami.”
For more information about Fortress and its services,
contact Kim Jones at 305-374-6161 or
kjones@thefortress.com, or visit the company online at
www.thefortress.com
Sophie-Annie Videment is an art critic based in Miami. She
is an expert and art consultant on contemporary art, and is
member of Paris-based European Chamber of Expert-Advisors in Fine Art.
Fortress’ viewing room.
A Conversation
with Ramón Cernuda
By Margery Gordon
Cernuda Arte: Sergio Cernuda, Luisa Lignarolo, Nercys Cernuda, and Ramón Cernuda.
Cernuda Arte in Coral Gables has become an authority on Cuban art. The family business is owned by
Ramón Cernuda and Nercys Ganem, who run it with their son, Sergio Cernuda, and Luisa Lignarolo, a
young art historian who joined the gallery before marrying Sergio. Recently ARTDISTRICTS spoke with
Cernuda at the Miami home where, he says, “Every wall is nothing but a pretext for a painting” from the
important collection of Cuban art he and Nercys have amassed over 38 years.
Margery Gordon - Could you tell me a little bit about your
childhood experiences in Cuba and your encounters with art?
Ramón Cernuda - My family left Cuba in October of 1960. It
has been 51 years now. I was a young adolescent then, and our
first encounters with art were after we arrived in Miami and my
family relocated to Puerto Rico in San Juan. The art community
in San Juan was small, but active, and through the University of
Puerto Rico Museum and three or four other art institutions, we
were able to establish our first contacts with the arts. Also, at
the University of Puerto Rico, where I studied social sciences and
humanities, I had the opportunity of taking various courses in art
history and art appreciation. So those were the very early beginnings, in the 1960s and very early ‘70s. I acquired my first painting in 1973. It is in storage. Over two-thirds of our collection is in
storage. We rotate the works. We hang about 180, so we estimate
maybe in the neighborhood of 500 in the private collection, not
considering our gallery inventories.
M.G. - And do those mix?
R.C. - Well, my wife makes it a point not to mix them. That
was one of her conditions when I finally convinced her 11
years ago to open up a gallery—that we build a Chinese wall
around the collection to try to keep it separate from our business. Occasionally we are clients of our own gallery, and every so often we agree, the two of us, to trade works from the
private collection with the gallery when we find that there are
some things that we can’t live without. But in general, both
entities are very well-defined and separate.
M.G. - What were you doing before you started the gallery?
R.C. - I came back to the United States in 1974, and I formed
a publishing house. We published books, encyclopedias—I
helped publish the first Cuban Encyclopedia. I published other
Cuban culture publications and self-study programs, English
courses for Hispanics. In 1977, we formed a company for that
purpose, and the company was very active until the year 2000.
It continues to exist, but the volume of operations is minimal,
because in the year 2000 my wife and I decided that in order
to expand our horizons in the art world, we were going to not
only continue our collecting passion, but we were also going to
open up a gallery that specialized in precisely the field that had
become our focus of interest.
For about a year and a half, we simply bought inventory for
the gallery, because we are believers in gallery-owned inventory.
Over 85 percent of our gallery’s sales volume in dollars is acquired paintings owned by the gallery that are then sold by the
gallery, and maybe 15, at most 20, percent in dollar volume in
consigned work. That tends to be the contemporary work of represented artists, because in today’s secondary market that deals in
deceased masters, if you’re not ready to buy, oftentimes the works
will not be available. So we are constantly buying and selling in
that field of deceased Cuban masters, and, on the other hand, we
represent 13 living artists. The bulk of our consigned work comes
from those represented artists.
M.G. - How many of those artists are living in Cuba versus
Cuban-Americans from here or living here?
R.C. - Ten live in Cuba, two live in Miami and one Cuban
émigré lives in Paris.
M.G. - Is that something that evolved? When you started
out, were you mostly just dealing in the secondary market
and you started adding the contemporary, or was that part
of your plan to begin with?
R.C. - It was part of the business plan right from the old
days when I was the vice president and director of the Cuban
Museum in Miami. I spent 15 years on the board of the Cuban Museum of Arts and Culture in Little Havana. We believed
that our involvement in Cuban art should not be one that segregated or discriminated [against] artists for any reason other
than the quality of their art. We integrated living artists with
deceased artists in our exhibitions at the museum, and artists
who live in Cuba vis-a-vis artists who live in exile. And that
concept of one cultural entity throughout its historical evolution was our model for the gallery also. So from our first exhibition when we opened the gallery we included living and
deceased artists, and we included artists living in Cuba with
artists from the exile community. In those days, the idea of
mixing artists from Cuba and the exile community was very
controversial. We had massive demonstrations in front of the
gallery from the very beginning, some definitely verbal insults
and some physical violence: pushing, spitting, tire-slashing.
M.G. - Did you also have that reaction at the museum?
R.C. - Yes, in the ‘80s we were [targeted with] terrorist threats
and actions. Two bombs exploded in front of the museum. One
totally destroyed the building and about 25 paintings that were
on exhibition inside the building. Of the 25, maybe four or five
were saved; the rest were beyond saving. Another bomb placed
in the museum blew up one of the cars of one of the directors.
Those were tough times. It was a very intolerant climate in the
arts and politics in general. In 1989, after various incidents at the
Cuban Museum, the U.S. District Attorney’s office confiscated
our collection and initiated a grand jury investigation regarding
our possible violation of the embargo laws because they claimed
that art was a Cuban product and it was illegal to possess it in the
United States. We filed a lawsuit against the U.S. Government for
violation of First Amendment rights.
M.G. - How did that fall under the First Amendment?
R.C. - Well, it was a very creative, but very fundamental,
legal construction. The First Amendment protects your right
to free speech, and a corollary of that concept is free access
to information. So informational materials have had constitutional protection, including the press, also film, music and
books, all kinds of publications. They are considered more
than a product. So we said, the arts historically have been a
source of enormous information to mankind. Professor Juan
Martínez from Florida International University wrote a brief
to the court basically outlining, from the Egyptians and even
before, specific cases of what we know as mankind thanks to
the arts, and what we wouldn’t know if it hadn’t been for the
arts. The concept of the arts being informational material had
not been defined by the U.S. Courts. We went to Federal Circuit Court with Judge Kenneth Ryskamp in 1989, who ruled
totally in our favor and said art is definitely, and historically
has been, informational materials. It falls under the protection of the First Amendment, consequently no lesser law can
impede the free flow of informational materials. So the whole
case of the U.S. District Attorney collapsed because the embargo could not apply to the arts, and it was not only Cuban
art, but in those days, it was also Vietnamese art, Libyan art
and Korean art were being embargoed. If you study art law,
our case is studied as the case that gives art the constitutional
protection of the First Amendment. Our case is case law; it’s
precedential. It was an extraordinary experience for us, being
immigrants to this country and ending up suing the U.S. government in their own courts and winning. It’s something that
I don’t think happens anywhere else in the world.
M.G. - Specifically in Cuban art, there was a period when
there were a lot of forgeries. Can you talk about that?
R.C. - It’s a problem that hasn’t been resolved. Particularly
deceased artists, those whose works are being sold in higher
numbers, get forged and sold on the U.S. market, and collectors, who are doing this because they love the art, are getting
robbed, getting taken by these fraudulent transactions. So we
have a situation where it’s very difficult for some people, unless
they consult with experts, to protect themselves with investments. So it’s very important that that be a consideration for
any collector, particularly of Cuban art. Some of the betterknown living artists from the island are also being forged.
M.G. - Why Cuban art so much, because of the lack of access?
R.C. - Precisely, because of the divide between the sources,
the history, the knowledge on the one side, and the collecting
on the other, and the money. And then there’s the interruption
of clear, continuous provenance. In normal conditions, talking
of a painting from the early ‘20s and ‘30s, you can trace the
various collections that have had that painting. With Cuban
Lowe Art
Museum
group visited
the Cernuda
Collection on
November 2011.
art, there’s always the argument, ‘Well, I can’t tell you who
owned the painting in Cuba, because it got to me after it was
smuggled out of the country.’ So there are issues that complicate the chain of custody of the painting.
M.G. - So how do you dig through that?
R.C. - We have to rely mostly on expertise. We have two
libraries of Cuban art books that we are constantly consulting. Also occasionally we rely on scientific testing, when the
monetary considerations justify that. It is expensive and timeconsuming, but it has been a tool that has been used successfully. And we have worked with some retired FBI calligraphy
experts regarding signature analysis. I provide a free-of-charge
service at the gallery, and we get, on average, once a day someone coming in asking us whether this painting is a forgery or an
original. If I believe that my opinion is not sufficient, I provide
referrals. We’ve done it for auction houses, insurance companies, even the government has requested that we get involved in
expert analysis of works for the courts.
trepidation because of the forgeries?
R.C. - I advise all of my clients to be extremely careful and
to check everything that they buy and to buy from institutions
that guarantee return of the monies if there is a problem. That
should be a requirement of any collector. Very few entities
guarantee, in writing, return of the money independent of the
statute of limitations.
M.G. - What have you seen as far as the trajectory of the
market?
R.C. - It’s going up immensely. The prices of Cuban art have
really moved up, particularly of these deceased Modernist artists,
the prices have multiplied.
M.G. - Was there a particular point where you saw a sharp
increase, or has it just gone up steadily?
R.C. - Well, the boom years of 2006 and 2007 certainly marked
a rise in pricing. Now that the economy has not been as good, the
prices have leveled off and some prices have dropped with regard
to those high prices of ’05, ’06 and ’07.
M.G. - Has there been much enforcement?
R.C. - Not at all. That is precisely what we have been talking
about—the need for much more enforcement and better legal
instruments for the police. We’ve been working with the FBI.
They have a unit here in Florida for art crimes. We first got
involved with them a year ago with the theft of a major collection, and it so happened that the thieves brought the paintings to our gallery, so we were able to call the police, and they
grabbed them then and there, inside the gallery. But with forgeries, it’s a much more difficult process. The only way that you
could win is if you can prove that the seller knew they sold you
a forgery, and then it becomes fraud, and there is no statute of
limitations until the moment you discover it is a forgery. The
burden of proof is on the buyer, not the seller. So we need a better set of laws regarding consumer protection in the arts.
M.G. - Is it hard when you see works come into the gallery
that you really like? Do you have a collector’s temptation to
want to keep them?
R.C. - It’s not hard, it’s horrible [laughs]. I have to thank
my son Sergio, because he is the more level-headed, businessminded person, and also my daughter-in-law, Luisa. She’s an
art historian from FIU, and she’s also involved in client relations. She’s been with the gallery about eight years. Just today
we sold a painting that I would love to keep, but it had to go.
By René Portocarrero, it’s a work from 1966 titled Portrait of
Flora. It was exhibited in the Venice Biennale in 1966, and it’s
an award-winning painting, a masterpiece. We acquired it from
a private collection just four months ago, and it’s going to a
very good collection of a good friend and client.
M.G. - Do you think that there is a better level of trust at this
point in buying Cuban art, or do you think there’s still some
M.G. - What is the scope of the clientele? How much of it is
local, national, international?
R.C. - Things are changing in that regard. Fortunately for
us, five-six years ago we decided to go national and not put all
our eggs in Miami, and we started an aggressive program of
fairs outside the city of Miami. Now, in the downturn of the
local economy—which is especially difficult for the art world
because many of the collectors were in the construction or real
estate industry or mortgage banking or related industries—we
have found that that safety net of collectors around the United
States and some European collectors have saved us from a free
fall. We do continue to work with some local collectors that
have been fortunately isolated from economic global problems.
We do have some international clients, but it’s really mostly a
national clientele. We’ve worked very hard at various fairs in
the Northeast, and also Chicago, Houston now. We really have
not ventured as much to the West. It has the geographic proximity, but it doesn’t have the cultural proximity.
M.G. - You haven’t been back to Cuba?
R.C. - I’m not allowed to go back by the Cuban government.
I think the problem is more with what we do now, which is an
independent gallery that represents artists from the island. The
artists work exclusively with us, some worldwide exclusivity,
and some U.S. exclusivity. It helps us immensely to control the
direction of the career of these artists, to properly promote it,
maintain the order of the market.
M.G. - So you can’t do studio visits. How do you handle the
communication, exportation? Do you have other people who go
on site in your business?
R.C. - Fortunately, my wife has been able to go to Cuba on
various occasions—also my son, my daughter-in-law, they’ve
been allowed. From the U.S. point of view, I can travel to Cuba
anytime I want. The gallery has a license. Any full-time employee
of the gallery can go to Cuba to conduct business without any
limitation on the U.S. part...I’m looking forward to the day when,
after 50 years of ostracism, I can be allowed back in.
M.G. - The artists there now, how are they treated?
R.C. - The artists are the privileged people in Cuban society.
They are among the wealthiest, because they are one of the very
few categories of workers in Cuba that can legally sell their products, art, in hard currency, to foreigners, either persons or entities,
galleries. They get paid directly from us in U.S. dollars. We have
to do it through the Cuban National Bank, so the dollars get converted to their equivalent to U.S. dollars, CUCs [Cuban convertible pesos]. The government charges a banking fee.
M.G. - What about the emerging artists? Are they subsidized
when they leave the academy by the government?
R.C. - No. It’s swim or drown, and that’s a problem. The
problem in Cuba today is that there are not enough galleries to help the emerging artists. They graduate thousands
of very talented people, but then there is virtually no opportunity for them. They have to throw a bottle into the
ocean and hope that it lands on some island out there and
somebody opens up the bottle and reads the message and
then starts caring for their work.
M.G. - So have you discovered artists there?
R.C. - We work with a group of artists that were very young,
starving emerging artists when we started, and now they’ve
developed. Some of our artists have been with us on an exclusive worldwide representation for 10 years, since we started
the gallery, and some have been with us seven, eight, five years.
We just had a very successful exhibition of a lady, Irina Elen
González, in her 30s, this month. She sold close to 90 percent of her show. Her price range is anywhere from $4,000 to
$15,000. She’s been with us for five years, and now she got her
first one-person show. She goes back to Cuba next week.
M.G. - Who do you think are rising stars, ones to watch?
R.C. - Miguel Florido is a very successful young artist in his
30s. He’s already sold at auction at Christie’s and Sotheby’s in the
$15,000 to $20,000 range. He started with us 10 years ago. We
represent him exclusively worldwide. He’s a very talented artist.
Vicente Hernández is in his late 30s, a surrealist artist. He’s all
about massive migration. He’s doing very well. He’s also been
exhibiting and selling at auction in the $10,000 to $20,000 range.
M.G. - Any new blood that you’re looking at bringing in?
R.C. - Yes, we just signed an artist who arrived from Cuba
two years ago. His name is Dayron González, an expressionist
artist whose work is very strong and has to do with the life of
children and adolescents in a closed society. It’s a direct reference to his experiences. I’m not politically active, but I do give
opportunity to artists independent of their beliefs if I think that
the quality of their work is important.
M.G. - Is it hard to play favorites? Do you have any?
R.C. - There are three artists of the Vanguardia period that are
my favorites: One of them is Carlos Enríquez. I also like [Fidelio]
Ponce [de León] very much, and Portocarrero. The more expensive artists are not my favorites. I love Lam, and we collect Lam,
of course, but he’s not really my favorite Cuban artist. Ponce is
very low-priced. He started doing his work in the mid-’20s, ‘30s,
and he died in 1949. He’s an expressionistic artist, very distinguished, symbolic, spiritual. He doesn’t have the color of the tropics as much as Lam, not as decorative, so it’s not as popular.
M.G. - What are your plans for the fairs?
R.C. - We’re bringing a very strong Modernist show to Art
Miami, including Wifredo Lam from the ‘40s, and also Víctor
Manuel García. It has been a fruitful year because some local
collections that were very active have gone into crisis and had to
sell their works, so we’ve been able to pick up some important
works. The display will be mostly contemporary for MIA, the
Miami International Art fair. We did Art Basel last year. We sold
Lam’s The Lovers [Les Fiancés, (1944)] for $3 million, a selfportrait of the artist marrying Helena [Holzer, a German scientist]. It was in the Basel catalog, and people, when paying for their
tickets, were asking about it.
Cernuda Arte is located at 3155 Ponce de Leon Blvd.
Coral Gables, Florida, 33134. Phone: 305 461 1050
www.cernudaarte.com / cernudaarte@msn.com
FEATURED ARTIST
Suspended Between Utopia
and Disaster
An Interview with Jovan Karlo Villalba
By Claire Breukel
Jovan Karlo Villalba was born in Quito, Ecuador, and moved
to Miami with his family at a young age. He attended New
World School of the Arts and studied painting, after which he
was awarded a four year full-tuition scholarship to Cooper
Union School of Art in New York City. He graduated in 1999
and began working as a full-time artist, setting up his studio
in the burgeoning art district of Chelsea and later moving his
practice to Long Island City in Queens. During this time, Villalba exhibited his work at the New York Design Center, as
well as in galleries in all three major U.S. cities, including New
York City, Los Angeles and Miami. He also participated in
Bino-scapes, a group exhibition at the Berliner Kunst project
in Berlin, Germany. In 2008, Villalba returned to his hometown of Miami, and in 2009, his Premonitions series was featured as part of the “Queens International 4” exhibition at
the Queens Museum of Art. New York. Villalba was awarded
Best of Show at the Armory Art Center “New*Art” exhibition in 2011, juried by Miami gallerist Frederic Snitzer. He
currently lives and works in Miami.
Villalba became known for his exact painting technique
that, combined with a darker subject matter, are on the one
hand aesthetically enticing and on the other disconcerting. His diverse color palette references the natural world,
however his subject matter remains illusive, functioning as
suggestions of actual form. The result is “landscape” environments that layer perspective and form in to a collage of
melded realities that feel familiar yet resist recognition—creating imagery that is both elusive and ambiguous.
Ambiguity is key, and this is echoed in Villalba’s technique.
Using oil paint on stainless steel, Villalba creates a reflective
surface that emits a reflective light, suggesting a sense of assurance and well-being. This is, however, paradoxical amidst
his dark and ominous backgrounds that are accentuated with
forms of sharp bright color that lends his subjects an otherworldly aesthetic. We are in unknown territory and absorbed
in a foreign land that offers both a suggestion of things to
come as well as the possibility of a tumultuous turmoil.
The next shard of geometric line could quite possibly hit
you squarely in the forehead or could offer a lifeline to grab
a hold of during a raging storm. It’s this paradox—balancing between an optimistic future and complete devastation—that creates tension in the work.
Artist Jovan Karlo Villalba.
Intrigued by this ambiguity in his work, I interviewed Villalba to gain insight in to his personal and creative inspirations in an attempt to unravel the subject matter of his
“environments” and get a little closer to uncovering the true
intention of these precarious suspended moments. The ideas
Villalba expressed in the interview outlined his intentions in
relation to his different bodies of work precisely, so instead
of creating an article about the work I thought it best to
publish the interview and share with you his words.
OPEN CALL WINNER
Jovan Karlo Villaba, Beginning at the Water’s Edge, 2010, oil on stainless steel, 24” x 24”
Claire Breukel - Has coming from Ecuador and growing
up in Miami contributed to the way in which you make
your work?
Jovan Karlo Villalba - I moved to Miami shortly after I
was born. I was raised mostly by my mother’s family, who
are from Cuba. Growing up I was always surrounded by
many types of people from many different places. I imagine
being in this multicultural environment during my formative
years contributed to my development as an artist early on.
C.B. - In your earlier work there is a tension between
the hyper-real aesthetic of your work that suggest the ideal
(rendered through your exact painting technique and the
stainless base of your work) and the subject that suggests
destruction. This juxtaposition both appealing and also
feels like a trick. Can you comment?
J.K.V. - The Premonitions series is more representational
than my recent works. In this series I use dislocation to engage the viewer by rendering familiar imagery and placing
it into unfamiliar environments and/or unsettling events—
most of which are catastrophic in nature. The use of stainless steel—a material that has become very familiar due to
its use in many consumer products—in my work is unexpected and serves to re-emphasize this idea of dislocation.
FEATURED ARTIST
C.B. - When did you first begin using stainless steel, and how
did you come across the medium?
J.K.V. - Sometime in 2004 I found myself sitting in my small
Chelsea art studio surrounded by large white canvases. At that
moment, I decided it was time to begin experimenting with different surfaces for my paintings. Steel initially appealed to me
because of its qualities and the subject I was working on. At first,
I was having a hard time with rusting and making the paint stick.
I switched to stainless steel, and soon after I came up with a painting medium that helped the oil paint stick to the surface.
C.B. - You created the Premonitions series during the time
you were living in New York. I feel like the works allude to a
personal narrative— is there a personal narrative integrated
in to these environments?
J.K.V. - I think you will find that most of my work is a sort
of personal narrative, likely influenced in some way by my experiences or circumstances. Living in New York City during the
events of September 11th affected me, and my work, tremendously. Suddenly, I found myself—along with millions of Americans—living in fear and “on alert.” Almost instantly, I began to
create work that comments on global tragedies and the resonating effects they have on us. I see Premonitions as an investigation
into the human pysche wherein I present, in various ways, a series
of the most feared apocalyptic events.
C.B. - Your “environments” function as landscapes that,
through their ambiguous subject, illicit curiosity, uncertainty
and sometimes even fear in your audience. Can you situate your
work within the context history of landscape painting?
J.K.V. - I’ve always been interested in making work that
stimulates curiosity and the imagination. I really don’t situate my work in the context of landscape painting, nor have
I thought about my work that way. I don’t see myself as a
landscape artist per se. It just happens to be the work I’m
interested in creating right now.
Jovan Karlo Villaba, Reflection of Fall and Feathers, 2011, oil on stainless steel, 40” x 48”
OPEN CALL WINNER
Jovan Karlo Villaba, The Wall (Premonitions series), 2006, oil on stainless steel, 14” x 47”
C.B. - Your use of color, sharp shards of “light” and perspective visually echoes techniques used by David Schnell and
other Leipzig painters. Is their approach to technique an influence on your work?
J.K.V. - Funny, recently I was told that my art resembles David Schnell’s because of those sharp shards and rays. In my
work those elements and marks are intended to bridge and
communicate the idea of connection, and not so much used to
describe perspective and scale. Although the Leipzig painters
have not directly influenced my work, it’s likely that they influence the work of artists I admire.
C.B. - Who are the artists you admire?
J.K.V. - I admire the work of many artists, from Anselm Kiefer
to Matthew Ritchie. Recently, I’ve been interested in the work of
my contemporaries from New York, such as Jim Gaylord, Francesca DiMattio and Jules de Balincourt.
C.B. - You describe your newer body of work as expressionist and gestural. Can you explain how your techniques
have progressed and changed from the more representational
qualities of Premonitions to the expressionist quality of your
New Beginnings series?
J.K.V. - Visually, my work has become more expressionist, and
even quite abstract. Over time, I’ve become more fixated on creating work that exudes more than meets the eye. Understanding
visual depth and the dual roles of a brushstroke—as image in
its own right and as a means of reference—has played a crucial
part in the progression of my work. Some characteristics of surrealism, such as the combination of the abstract, depictive and
psychological, are also visible in these new works. With regards
to subject, my work remains within the context of social and environmental issues. Although in these new works the resulting
images appear far less ominous. Instead, ideas of time, rebirth,
cleansing and transformation all come in to play within my subject matter, however overall my work’s focus is still based on the
idea of psycho-geography.
C.B. - In this newer series of work you have created environments that evoke an emotional response from your audience that includes optimism, self-reflection and maybe even
nostalgia. In this way your environments become timeless
and throw in to question human relationships (both physical and emotional). As an extension to this engagement
with psycho-geography, do you create these environments
as provocations to become more aware about social and
environmental ideas?
J.K.V. - Both, for me they go hand in hand. Every aspect
of my recent works—from the application of the paint that
describes these environments to the installation of the works
as seemingly floating steel panels—is intended to contribute
towards evoking an emotional response from a viewer. Be it
by stimulating contemplation, self-reflection and nostalgia
and/or stirring up feelings of hope, isolation or confusion,
this connection plays a vital role in initiating an experience
that will engage a viewer and allow me to effectively comment on social and environmental issues.
C.B. - Do you have any upcoming exhibitions we should
know about?
J.K.V. - I have two solo exhibitions planned for 2012—neither is titled as of yet. The first will open be at Taché Gallery in
Chelsea in New York City on April 12. The second will be at the
Armory Art Center in West Palm Beach in Florida in September.
I will also be featured in the “Tomorrow Stars” exhibition at the
Verge Art Miami Beach this December.
For more information about Jovan Karlo Villalba, visit his website, www.jovankarlo.com
Claire Breukel is a South African contemporary art curator
based in Miami.
L’Oriano Galloni
The Guggenheim Museum Welcomes the Artist’s
Sculptures in an Event Benefitting Arts for India
By Claire Fenton
In the spring of 2012, Italian artist L’Oriano Galloni (Viareggio, 1970) will participate in a gala organized by Alessandra
Fremura, donating one of his sculptures to Arts for India at the
Guggenheim Museum in New York. Arts for India, a non-profit
educational organization that supports the International Institute of Fine Arts in Modinagar, a New Delhi suburb, makes it
possible for young Indians of limited means to carve out career
paths in the fields of art and design by organizing events and
raising money at events around the world.
The piece, entitled White Moon, stands 30 feet high and
has an estimated value of $2.5 million. The work is currently at his studio in New York. Galloni has also donated
various small-scale sculptures, which will also be auctioned
off during the presentation of Arts for India at the Guggenheim Museum on April 26, 2012.
In 1992 Galloni graduated from the Accademia di Belle Arti
in Carrara with a major in painting and sculpture, and his
pieces quickly gained international renown. His work has been
exhibited in galleries and cultural institutions throughout Italy,
Germany, the United Kingdom, South Africa and Hong Kong,
as well as throughout the United States, including in New York,
Miami, Los Angeles, Indianapolis, Palm Beach and Santa Fe.
His creations can be found in major public and private collections throughout Europe and the U.S.
White Moon consists of an enormous pillar of white and
gray marble with steel accents crowned by a human torso,
a being that appears to emerge from the stone and ascend
to the heights. This piece is part of a series of sculptures
entitled “People,” an ongoing project that the artist began a
few years ago. The series consists of an army of enormous,
stylized human forms, which sometimes exceed 25 feet in
height, as is the case with White Moon, and symbolize the
guarding forces of humanity and the universe.
“Silent Souls,” the name Galloni has given these pieces,
is derived from an episode in his life. As he was walking
through a forest in Germany, it suddenly appeared to him as
though thousands of souls were protecting him, thousands
of silent beings that emanated a vital energy. Years later, he
lived through a similar experience in a New York subway
during rush hour. He confesses that in the midst of the chaos
and the bustle, he once again felt the presence of these enormous beings that seemed to filter out the spiritual pollution
that filled the atmosphere. As a result of these events, these
figures started being reflected constantly in his work. “I saw
creatures that looked like human beings, very tall and skinny, expressing sincerity and serenity,” Galloni says. “While
absorbing my negative spiritual energy, their white and pure
bodies constantly changed colors and forms. The white faces
represent pureness and serenity as their bodies absorb the
negativity and become dark.”
His pieces display a masterful technical command and a tireless
desire for experimentation, but, above all, they value artisanal
work in a world that has bet on industrialization. Galloni uses a
variety of materials in his works, including wood from such distant lands as Italy, Brazil, Turkey, Africa and Germany, as well as
fragments of fossilized wood. He then combines these with differ-
Sculptor L’Oriano Galloni at his studio in New York City.
L’Oriano Galloni, White Moon, 2011,
assembled marble and steel, 30 feet high.
Photo: Paola Cup Cha.
ent types of marble, as well as metals such as aluminum and steel.
The creative process starts with the selection and gathering of materials. Galloni then begins cutting the wood into
layers or the marble into uniform blocks. These he combines
and joins together until he obtains a compact block that he
will later shape, and to it he incorporates molten metal. The
creation of just one piece can take several months, and Galloni usually works on about 10 pieces at a time.
When he chooses his materials he does so with symbolism
in mind. In the case of these pieces, it comes from a desire
to express how these silent souls will protect man and guide
him in the long journey that is life, without discriminating
between races, genre, cultures, religions, political or ethnic
differences. It is precisely this combination of different kinds
of materials that makes each piece a dynamic whole within
which different times, essences and concepts dialogue.
Galloni’s art draws its influence from a variety of styles, ranging from elements of classic Greek and Roman sculpture to a stylization of the codes of Modernism. Generally, the parts created
in wood and metal stand out due to their simplicity. The artist
makes the most of the qualities and textures that these materials
offer by using minimal intervention; he only accentuates small
details around the ribcage or abdomen. Marble is the material
that gives him the opportunity to delight in the realistic representation of muscles, veins, bones, feet, hands and to accentuate
some facial features, thus achieving a harmonious whole.
Thanks to his incredible hands, this talented artist affords
the world glimpses of ethereal beauty. Sculptures such as
White Moon rise to the heavens and appear to float in space,
like a vibrant and sensual army of guardians.
Oriano Galloni is represented in the United States by
Evan Lurie Gallery. 30 West Main Street. Carmel, IN,
46032 Phone: 317 844 8400
www.evanluriegallery.com
Galloni’s works will be exhibited at Red Dot Art Fair booth
C-103, Nov 30 - Dec 4, 2011
Claire Fenton is an arts writer based in Miami.
Lélia Mordoch:
Is Art an Antidepressant?
By Sophie- Annie Videment
“A work of art is not gratuitous; it’s always the expression of an inner need. One either rips one’s guts out
to create or remains silent,” Lélia Mordoch says. Owner of a successful gallery with two spaces, one in
Paris, the other in Miami, Mordoch’s success is driven by her passion for art and her vivid desire to share
this passion. The December exhibition of the Miami space is organized around the publishing of the book
Is Art An Antidepressant? created for the 21st anniversary of the gallery.
Lélia Mordoch. All photos are courtesy of the gallery.
Lélia Mordoch Gallery in Miami is
located at 2300 North Miami Ave,
Wynwood Art District.
Sophie Videment - You own a successful gallery with two
spaces in Paris and Miami, you are participating in international art fairs…tell us about your trajectory as a gallerist. How did this success happen?
Lélia Mordoch - The key to this success is my love for art.
I opened a gallery in Paris, Saint-Germain des Prés in 1989,
just before the art market crisis—at the worst moment—and
I had the chance to survive and grow when other galleries
had to close their doors. I have always wanted to be a gallerist because I love to make people discover the art of today.
The artists I represent, I have discovered them myself when I
visited their studios, or in the streets, or when they came into
my gallery to show me their work. I first loved their work,
but you can’t avoid to also love the person when you love
the work of an artist. The work is the translation of the human being. Today, I still show lots of the artists with whom
I have begun working, and we have become a kind of team.
S.V. - You inaugurated your Miami space in 2009. Opening a new space in another continent, in another market, is
a huge challenge. What drove you to do it?
L.M. - I came for the first time to Miami to exhibit in a
fair in 1991, when Art Miami, the fair created by Lee Ann
and David Lester, was starting. Immediately, I was attracted
by the city and by the collectors I met. The American public
buys what it likes with enthusiasm. It is a very spontaneous
public with whom you can share your passions. Immediately, I dreamed of opening a gallery in Miami. As you stress it,
it is not as simple as that. So I waited for the right moment.
I begun working with Daniel Fiorda, whose studio I had
visited in the Lincoln Road Art Center in the ‘90s. Quickly,
as he was located here, he started to help me build the booth
for the fairs and prepare the exhibitions in Florida, Miami
and Palm Beach. It is thanks to Daniel, who manages the
gallery, that I was able to open the gallery in Miami.
Julio Le Parc, Forme en contorsion sur fond
blanc (detail), 1966, 39.5” x 12” x 6”. Denise Rene
Editions.
S.V. - You represent artists from Japan, France, Spain,
some are renowned, some are emerging. How would you
describe the artistic line of the gallery? What are the shared
elements in the work of the artists you represent?
L.M. - The artists that I represent may seem at first sight
very different, but they all have in common this visceral need
to create. They create with their body and soul. Art is the
essence of their being. I feature what I love.
S.V. - Participating in several art fairs all over the world
represents a substantial investment. Is participating in an
art fair more of a communication tool for the gallery, or do
you see it more like a platform to expand to other markets?
In which fairs will you be present in the next months?
L.M. - The contemporary art fairs are a scene for the
artists. They facilitate the public and the artists to discover
what is new on the international art scene. And, of course,
to meet new collectors, art dealers and artists. Art fairs
are live creation laboratories. The big contemporary art
fairs are the best places to sell but also to buy, and superb
exhibitions like the Venice Biennale reflect the spirit of the
time. Art is a thermometer and a barometer of its time. Art
can only be contemporary.
S.V. - How would you define the role of the gallerist in the
international art market?
L.M. - My goal as a gallerist is not to speculate on art
works but to feature art and make the world discover artists; to share my passion; to make the public discover new
things that reflect our era. To touch collectors, but also students, children, the man of the street. It is always an enormous pleasure for me when, at a fair, the technicians, electricians, firemen, police agents, stop to watch the art pieces, to
comment, bring a colleague and say, “Come and have a look
at this, it’s fantastic!” When I exhibited Patrice Girard and
his sculptures, which include real fish, the public was astonished. That is when I met Carolina Sardi and Daniel Fiorda.
I organize shows for people who are able to stop in front of
an art piece and let their emotions take the lead, for all the
ones who take the time to really watch. I don’t believe that
the public is very different in Paris and Miami. Today we all
live in similar worlds. Painters of today, whether they like it
or not, are all children of Van Gogh and Vasarely.
S.V. - Can you tell us about the book you are currently
publishing to celebrate the 21st anniversary of the gallery?
L.M. - The December exhibition is organized around the
Patrice Girard, Still Life, 2005, rice paper,
metal, herrings, 20” x16” 2”
publishing of the book Is Art An Antidepressant? It’s the approximate translation of the original French edition, L’Angoisse
est-elle soluble dans l’Art? published for the 20th anniversary
of Lélia Mordoch Gallery in December 2009. It is a retrospective of the gallery exhibitions in the United States for the last 20
years. Works by artists such as Julio Le Parc or Garcia Rossi will
be next to artists from another generation such as Emmanuel
Fillot, Patrice Girard, Daniel Fiorda, Carolina Sardi, Keren… I
wrote this book over the years; it gathers texts written for each
show and anecdotes which give the reader an idea of what can
be the life of a gallery. It is also, in a certain way, a history of 20
years of contemporary art. I’d like to add that I like writing and
candles on birthday cakes. Twenty years of a gallery, it is the
ideal opportunity to publish a book. The French book had a lot
of success, including in Miami in spite of the language barrier.
So I decided to create an American version, which at first was
only supposed to be a translation. But I couldn’t resist to tell
the story about opening the gallery in Miami. And in one year,
you always have more things to tell.
S.V. - What do you think about the Miami art scene?
L.M. - First, Art Basel Miami Beach is one of the major art
events in the world. We are very happy that it takes place here;
for a week, Miami becomes the world capital of art. Miami is
a real city, a city that grows every day in spite of the economic
crisis, which touches everyone. It is a cosmopolitan city, one
of the major cities in the United States, and one of the most
pleasant ones. So, there are lots of collectors and art lovers in
Miami and in Florida. It is for them that I opened my gallery in
Miami. I believe that every one of us in Wynwood contribute
to the artistic creation of this city. This year is very special for
me. I am currently in Cameroon, in Yaoundé, with Jonathan,
my six-month-old baby. I am with him since mid-June. He is
my son according to an adoption judgement from the Cameroonian law, but due to administrative complications, I don’t
know if I will be able to be in Miami for the publishing of my
book. I can’t miss any of his smiles, so Daniel Fiorda will do
his best! To come back to the title of the book, I’d say that
the question itself provides the answer. To cite Jewish wisdom:
‘There is no answer, only questions.’ ‘Is Art An Antidepressant?’ Try it and see for yourself.
Lélia Mordoch Gallery is located at 2300 North Miami
Ave. Wynwood Art District, 33127. Phone 786 431 1506
www.galerieleliamordoch.com
lelia.mordoch.gallery@gmail.com
Anica Shpilberg, Museum Ghosts, 2011, 30” x 40.” All photos are courtesy of the artist.
Anica Shpilberg
Fragments, Memories and Realities
By Raisa Clavijo
The oeuvre of Anica Shpilberg functions as a gateway to a
palpable and diverse reality that could just as easily be located
in Shanghai, as in New York, Miami, Lima, Bilbao or London.
The world in which she lives changes very rapidly, as life has
given her the opportunity to travel constantly to a variety of
countries where people have disproportionate access to opportunities. “I want to bring an awareness of the social disparity in which we live today, so I go from the Indians in the
mountains of Peru to the sophistication that a resort in Italy
might bring or to the different garbage collectors I have photographed over the years,” she says. “This is the way that I tell
my story. I have always said that it is easier for me to use my
art than to use words.”
Her main sources of inspiration are those things she witnesses in her many travels. These awaken in her the need to
create, to weave a narrative starting with the fragments that
she manages to capture from these experiences. While her
earlier work captured fragments of her daily life and that of
her family, what moves her now is the need to record the historical context in which contemporary man exists in order to
perpetuate it so that it does not become diluted in memory.
Anica started creating art at a very early age in her native
Peru after her mother introduced her to handicrafts such
as embroidery, knitting and sewing. However, when Anica
started spending hours drawing in her notebooks her mother
enrolled her in painting classes. In 1970, she emigrated to
the United States and studied design at LaSalle University in
Chicago. Anica later moved to New York, where she studied
photography, printmaking, mixed media and steel sculpture
at the Pratt Institute, before going on to complete her studies
at the Silvermine College of Art in Connecticut.
Her artwork reflect the influence of some of the key figures
of the 20th century, including Robert Rauschenberg, Frank
Stella and Clyfford Still. But her work is not simple to interpret, nor should it be taken literally. Instead, it must be
discovered step by step by learning to read the myriad symbols in her paintings that she hides under layers of pigments
and materials that metaphorically function like the strata of
remembrances, which must be removed in order to uncover
the intimate universe of each human being.
Her recent series combines painting and photography. As if
she were weaving a large cloth of memories, she delves into
her extensive archive and selects images from her trips, which
she prints on canvas, metal or chrome paper and treats them
with different materials, altering the original scene and imprinting them with an aura of timelessness. Anica attempts
to capture the heartbeat of each event she records by stressing and reassessing its singularity. In this way she attempts to
hold back time and perpetuate it for posterity.
Works such as Old Shanghai contain glimpses of that city
25 years ago when it still maintained a certain provincial
flavor and had not yet succumbed to the vortex of technology and consumerism. Other works address social themes,
as in the case of Tango Classes Before the Madness, which is
an implicit commentary against violence and terrorism. The
piece displays a tango lesson in the Guggenheim Museum
Bilbao plaza, a scene that could suddenly be interrupted by
a terrorist act. Although ETA, the Basque separatist organization, announced an end to armed activities in October,
a climate of insecurity still exists in Spain after decades of
terrorism. Other pieces allude to the “footprints” that we
human beings leave behind in our wake in the places and
on the objects we influence. An example of this is Museum
Ghost, according to Shpilberg. “Museum Ghost is about the
life of the many artists that form the collections of the many
museums around the world and what it would be like if
they could all share their experiences with us, what we could
learn that is not in the book and how they would get along
among themselves,” she says.
Anica’s work is in private collections in Connecticut, Georgia, New York, Massachusetts, Florida, Peru, Chile, Venezuela,
Switzerland and Israel. Her works have been exhibited in more
than 70 international exhibitions in cities such as Miami, New
York, Atlanta, New Haven, Dallas and Shanghai, among others. Of note are the World Tour of Contemporary Art London
2011 and Shanghai Art Fair 2011.
Anica Shpilberg is represented in Miami by Elite Fine Art
Galleries. 46 NW 36th Street Miami, FL, 33127. Art collectors are welcomed to visit her studio at the Bakehouse
Art Complex. 561 NW 32nd Street. Miami, FL 33127.
www.anicaonline.com / anica@anicaonline.com
Tango Class before the Madness, 2011, 40” x 30.”
Old Shanghai, 2011, 20” x 20.”
During Miami Art Week, Anica will be part of the show “International Art Exhibition,” curated by Nina Torres at 1800
Gallery. North Bayshore Drive, Miami, 33132.
Raisa Clavijo is an art critic and curator based in Miami. She is
de editor of ARTPULSE and ARTDISTRICTS magazines.
Rómulo Aguerre’s First Solo
Show in Miami
By Irina Leyva-Pérez
Rómulo Aguerre, Cuadrados disociados, 1967, Gelatin Print, Vintage 16” x 11.” All images are courtesy of Sammer Gallery.
When we think about abstraction, photography is perhaps
the last media that comes to mind. Not surprisingly, there
have been very few photographers who historically have
done this type of work, and most of those who have done so
in a specific timeframe and context.
The Uruguayan photographer Rómulo Aguerre (19192002) was a pioneer in the field in his country. Taking advantage of the technical possibilities of his time and his interest
in experimenting, Aguerre chose the hard path of abstraction in photography, undoubtedly influenced by the Bauhaus.
Above all, his pieces from the ‘50s show this influence, most
likely from the Fotoform movement in Germany, and par52 ARTDISTRICTS l www.artdistricts.com
ticularly Steinert and Moholy-Nagy’s ideas. Following the
basic guidelines of this group, Aguerre concentrated on similar topics: close-up views of natural elements and the manipulation of negatives and prints. His abstract compositions
visibly show his interest in working with lights and shadows,
playing with forms in a way that reminds us more of pictorial solutions rather than photographic ones. His piece MADI,
from 1954, emphasizes this connection, as it is the name of
an important group of Argentinean artists who worked with
abstraction during the ‘40s. It is a good example of Aguerre’s
work from the ‘50s, a decade during which the main interest
in art was abstraction. This image is a very subtle combina-
Rómulo Aguerre, MADI, 1954, 26.5” x 24.5”
tion of whites, sepias and browns, achieving movement by
the careful composition of angular and irregular forms. He
was known for his experimental attitude, and the darkroom
proved to be the ideal place.
Even in the ‘60s, ‘70s and later, although his works included elements of the prevailing figurative and pop tendencies of the time,
the core of his images remained abstract. He continued taking
advantage of juxtaposed forms, creating veiled images and exploring the effect of mystery by inciting the spectator to discover
what elements he used. Later in his career he would mix different
media, making collages often based on photographs.
Initially a self-taught artist, Aguerre took his first steps in the
art world with an uncle who taught him painting and drawing.
His incursions into photography were the result of pragmatic
necessity as a result of working at the newspapers El Pueblo
and El Plata. Later on, in 1937, he would establish his own
commercial photographic studio. Aguerre participated actively
in the Uruguayan art scene, and unsurprisingly one of his preferences and strong alliances was with the geometric abstract
artists of the region, an influence that would clearly manifest
in his work. He also dabbled in the promotional aspect of art
and in the ‘60s opened an art gallery. But he was mostly known
for his art, especially in South America, where his photographs
have been exhibited in several museums and other institutions.
“Las formas de la luz (Light Forms)” is his first solo exhibition in Miami. It will feature pieces from a variety of
periods, offering a panoramic view of his work as an introduction to his oeuvre.
“Las formas de la luz (Light Forms)” opens during
Art Basel Week (November 29 – December 6, 2011).
Sammer Gallery. 82 NW 29th Street. Miami, 33137.
Phone 305 441 2005
info@sammergallery.us
www.artnet.com/sammergallery.html
Irina Leyva-Pérez is an art historian and art critic. She is the curator of Pan American Art Projects in Miami, FL.
Zadok Exhibits Complement
Miami Art Week
The Zadok Art Gallery (ZAG), which opened in March 2010
in Miami’s Wynwood Art District, will present stellar exhibits
to complement the plethora of art offerings that surround Art
Basel Miami Beach. Zadok is dedicated to art from the postWorld War II era to the present day and has quickly been recognized as a preeminent destination for artists and collectors.
One of Wynwood’s larger spaces, ZAG boasts an impressive
17,500 square feet of space that features 12 exhibit rooms.
The gallery serves as a reference for the secondary art market
and modern art but also provides a platform for emerging
artists. For Miami Art Week, ZAG presents the work of Chen
Man, Lewis Tardy, Lori Kirkbride and Hunter Jonakin.
Chen Man’s “Curly Flower” vision series is on display for
the first time. Man is a superstar of the Chinese fashion/photography world who works out of Beijing. She creates sumptuous photographic images that display a technical wizardry
that belies her 28 years. In addition to collaborating with various international celebrities and luxury brands, Man’s works
have been featured in numerous Chinese magazines such as
Chinese Vision, Vogue China, Elle and Bazaar.
In 2008, Man was invited to participate in the prestigious
“China Design” exposition in London, where one of her
pieces was selected as the exposition’s feature advertisement.
She has exhibited extensively throughout the world, and this
year she was commissioned to create an advertising campaign for MAC cosmetics.
Lori Kirkbride, Pink,
mixed media.
Hunter Jonakin, Jeff Koons Must Die.
Lewis Tardy will present his sculptures, which weave recycled objects and scrap metals into complex, biomorphic
designs. These works perfectly marry Tardy’s strong aesthetic
eye with his intuitive level of mechanical craftsmanship. Tardy
is a self-taught artist, having learned his craft in a traditional
apprenticeship. An earmark of his work is his high degree of
craftsmanship and surprising use of found objects.
Lori Kirkbride is an up-and-coming Brooklyn-based artist.
Zadok Gallery will showcase her whimsical paintings that are
filled with bold abstractions and playful floral designs. Utilizing acrylic polymer, resin and collage, she produces works of
shocking color intensity, ranging in size from the intimate to
the monumental. Her works—in their powerful simplicity—
evoke a feeling of positivity.
ZAG will also feature the innovative installations of Hunter Jonakin, who believes “technology has saturated our lives”
and, as such, uses non-conventional material, such as microcontrollers, vintage game engines, fiberglass and custom built
circuits, to craft elaborate and ironic digital installations. Taking the shape of traditional video games, his work explores
the hybrid world of humanity and technology through neurological stimuli and changing viewpoints. Also exhibited will
be an impressive outdoor installation by Jonakin in the gallery’s outdoor garden space.
Lewis Tardy, Photographic Memory, mixed media sculpture.
Since its opening, ZAG has been committed to “serve as a
preeminent destination for international artists and collectors
who view art as an extension of political and social dialogue.”
To date, the gallery has shown Italian artist Luca Artioli; esteemed French artist Marc Ash; well-known Miami pop culture
artist Stephen Gamson; breakout mixed-media artist Karim
Ghidinelli; acclaimed photographer Tomáš Loewy; China’s
revelations, the Ta Men-THEY Group, Shi Lifeng and Shen
Jingdong; accomplished Norwegian multimedia artist Stian
Roenning; French sculptor Yom; rare works by Andy Warhol;
and early paintings by Romero Britto.
ZAG was founded by Dror and Miriam Zadok, who met over
40 years ago in New York and decided after a honeymoon in Miami that this was the city to call home. The Zadok family shares
in a belief that the Wynwood Art District is an important part of
the cultural identity of Miami and South Florida. Longtime lovers of the arts and philanthropy, they hope ZAG will become a
cultural icon that will also serve to benefit those in need.
Zadok Art Gallery. 2534 North Miami Ave. Miami, 33127.
Phone 305 438 3737 / www.zagallery.com
Jenifer Mangione is an art writer based in Boca Raton, FL.
www.fineartnotebook.com.
Mira Lehr:
209 Ignition By Irene Sperber
Mira Lehr, Frozen in the Fire 2, 2011,
mixed media on canvas with gunpowder,
72.5” x 88.” Photos: Michael Fryd
Japanese Rice paper, hair, woodblock prints, gunpowder, burnt
paper, poured resin, acrylic, charcoal, photography. With artist Mira Lehr at the helm, you are not entirely sure what is
involved at first glance but feel compelled to seek further
insight into this complex vision. The brain “almost” knows
what components are involved as the mind scans through a
slide show in your mental library.
An Asian sensibility is an immediate first impression of Lehr’s
large and multilayered pieces, though she admits the Asian suggestion bubbles through from no clear-cut personal experience.
A strong theme of nature with a contemplative quality is in
play throughout her many series. There is a soothing flow to
her work that allows the eye to comfortably meander across
surfaces with ease. Before being allowed to completely relax
into the theme, the viewer can discern an element of turmoil
in the subtly roiling background. The usage of material reflects
this yin/yang perception; a piece with a floral quality is made
with gunpowder in her “Burned Works.” The harshness of the
shards of burnt edges is softened by the delicacy of a rice paper
substrate, the ebb and flow of life played out on paper. Spherical shapes shoot thoughts of the Land of the Rising Sun flickering through in her canvas-based series. Abstract impressionist painter Hans Hoffman had a significant
impact on Lehr. “Hoffman’s use of space and placement on the
page influenced my work—now it’s intrinsic,» she says. «I see
something that’s flat and volumetric at the same time. I feel it in
everything I do. I problem solve (in my work). When I start to get
too comfortable, I change. My new pieces are more conceptual,
not so pretty. My process changed, introducing new material: gunpowder, fuses, resins. I am now more narrative in creating space.” Time goes both fast and slow, Mira says. «Time is (indicated) with
a fast burn, the gunpowder, and slow (indicated) with the resin.
Twenty-seven of these new works are exhibited for the first
time in the Kelley Roy Gallery, marking Mira›s first return to Miami in 10 years. «We loved her older work but (quickly realized)
the new series is really dynamic,” gallery co-owner Susan Kelley
says of the sculptures, videos and paintings on exhibition. It is evident Lehr draws inspiration from a quiet and meditative personal space, and that viewpoint saturates the observer›s
consciousness. A Miamian for the bulk of her life, Lehr has benefitted from
some impressive teachers in her career, including Abstract Impressionist James Brooks, New York School painter Robert
Motherwell and architectural design guru Buckminster Fuller.
A Vassar College graduate, in 1960 she left her early adult life
in the maelstrom of a male-dominated Manhattan art world
for the climate of a culturally neglected Miami, following her
husband’s work. For survival, she co-founded a vital women
artists co-op in Miami long before the Guerilla Girls started
punching out of their invisible boxes in NYC (1985). “These
like-minded misplaced women did it with their own money,”
says Lehr. “We brought down John Chamberlain, Betty Parsons, Jack Flam and Buckminster Fuller for talks.” The Continuum Gallery (1963-1990) boasted an important coterie of viable female artists, many of whom still hold clout in the South
Florida art community today. Lehr is known as a deeply reflective artist, and just as you
form an understanding of her work she creates another series that underscores that she is an ever-evolving entity whose
ensuing pieces mirror the changing forms of nature. Consequently, she has been described as a visual poet, mistress of
light, spiritual heir to O’Keefe and painter not of this world.
Lehr›s works are part of the permanent collection of the
Miami Art Museum and FIU, as well as a participant in the
Art in Embassies program and prestigious institutions such as
the Brooklyn Museum of Art.
A rolling stone, Lehr has also dipped her brush into the world
of design, collaborating with Odegard, adding her own splash to
the company’s long list of beautiful one-of-a-kind area rugs.
Her exhibition at Miami’s Kelly Roy Gallery shows a
new side of the artist, showing the more seasoned Lehr’s
new collaboration with young New York video artist Yara
Travieso. Two sculptures, V-1 and V-2, are in the video V-3. They are made from Japanese rice paper encased in resin in a
plexi-glass case strung along a motorcycle chain with a fuse
threaded through. A soundtrack of the plexi squares hitting
each other has been said to feel like a heartbeat. Says Kelley,
“Mira reached back to move forward.”
“209 Ignition” was on view until November 12, 2011,
but artworks from this exhibition can be appreciated
at Kelley Roy Gallery. 50 NE 29th Street. Wynwood Art
District. Miami, 33137. Phone: 305 447 3888
www.kelleyroygallery.com.
The video V-3 will be projected at the gallery from
November 29 to December 4, 2011, 5-8 p.m.
Irene Sperber is a photographer and writer based in Miami. She
has exhibited her artwork internationally. Her articles, essays
and photographs have been published in Miami Art Zine, The
Examiner, South Florida, Casa y Estilo, and Art in America.
Mira Lehr, Tropic of Capricorn, 2011, woodblock, gunpowder,
acrylic, 75” x 48.”
Mira Lehr and Yara
Travieso, V1-V3, 2011,
3:45 sec. sculpture, video
installation, performance.
Revisiting History
By Raisa Clavijo
Gino Tozzi, Bird Brain, 2011, images of bird strikes. All photos: Mariano Costa-Peuser.
In September, LMNT inaugurated “PAUSE,” an exhibition
that a decade after 9/11 causes us to reflect on the still unanswered questions surrounding this event. The idea arose
from conversations between the artists Ashley Cumberland,
Rachel Hughes, and Gino Tozzi. For the past 10 years, each
of them has independently investigated those gaps that remain unfilled in the investigation of events surrounding the
terrorist attack at the World Trade Center. At the beginning
of this year, they gathered together all evidence and began
creating artworks based on these facts. Artist Billie Grace
Lynn also participated in “PAUSE.” The aim of the exhibition, soon to be traveling to New York, is not only to delve
into questions that need clarification, but also to use art as
a means of healing, sharing opinions and honoring the victims, their families, and the many people still affected with
health issues to this day.
The exhibition shines a light on the controversial theme
of the manipulation of information by the media and official sources. The destruction of the World Trade Center is
the first time, since the British burned Washington in 1814,
Artists Ashley Cumberland and Gino Tozzi (Center: Interior Column Replica from WTC, 2011, steel)
that the United States has been attacked on its own soil. Due
to the magnitude of this event, the government should have
been interested in investigating the real causes and circumstances behind it. Nevertheless, numerous details remain
murky. The budget allotted to the investigation of the 9/11
events was only $14 million, originally budgeted at $3 million. These are ridiculous figures when compared to the $75
million the government allotted for the investigation of the
Challenger shuttle disaster in 1986, and the same amount
was designated for the Lewinsky affair in 1998.
There are still many unanswered questions surrounding
9/11 and the wars in Afghanistan and Iraq that ensued—absurd wars in territories that were devastated and from which
those responsible for the destruction of the Twin Towers
were never found. They were wars unleashed in the name
of democracy, genocide masquerading as “humanitarian
intervention,” a war machine used to conceal an invasion
in search of new sources of energy, a campaign that only
benefitted the arms industry and the multinational companies. Ten years later, while the country is struggling with the
worst economic crisis since the Great Depression, we realize that actions were orchestrated to, among many other
things, divert the attention of the average American away
from the impending disaster—the unexpected growth of financial institutions, the flight of jobs to cheap labor markets
in Asia and Latin America, the dismantling of public services, the deterioration of social rights, low salaries, the real
estate bubble and exceptionally high unemployment, to cite
just a few of the problems that currently affect this country.
The works of these artists do not pretend to assert absolute
truths, but rather through their proposals they seek to move
the public to reflect on these issues.
Ashley Cumberland presents her piece Timeline/Skyline,
which in my opinion is one of the most interesting pieces
in the exhibition. It consists of an enormous Manhattan
skyline in which the reflection of the city traces an oblique
line that touches on the manipulation of information and
facts by the media and “official history.” In this skyline, the
two World Trade Center towers do not follow the oblique
line; instead, they trace a perpendicular line that crosses the
composition. The perpendicular line of the two towers looks
like a “PAUSE” sign allegorically referring to the kind of
pause introduced into this country’s development with the
destruction of the Twin Towers and Building 7. The piece
ends in a triangle that looks like a “PLAY” button enclosing an optimistic message. “At the termination of the piece
is a triangle as a PLAY button with the continuation of the
heartbeat again, sending the message to continue on, but
now with a conscience and educated frame of mind,” Cumberland says. Based on her 10-year investigation, the artist
created a timeline of more than 20 pages of facts relating to
the destruction of the towers in which the United States has
been implicated. This timeline is included in this piece and
causes us to question the veracity of official history.
Installation view (Left: TIMELINE SKYLINE (2011), by Ashley Cumberland and Right: Lens (2011) by Billie Grace Lynn)
Cumberland, who is also an architect, created a series
of seven pieces entitled Architectural Studies in which she
presents various plans for the towers on slabs of concrete
and Venetian plaster showing the location of their support
columns. This information was removed from the Internet when the 9/11 events took place, and it was not made
known until very recently. Cumberland searched for it for
several years, and upon finding that it was recently put back
up on the Internet, she decided to perpetuate it in this series
so that the viewer could have an idea of the towers’ foundation. The towers were bolstered by 59 support columns on
each of four sides, as well as a core structure of even thicker
columns. This information leads us to wonder how it is possible that the fire generated by the impact of an airplane
could collapse a structure built on such a solid foundation.
For her part, artist Billie Grace Lynn has created an enormous composition using photos of the victims who lost their
lives in the towers. Lenses (2011), made up of faces of the
deceased, forms two enormous pupils that have a dramatic
impact on the public conscience.
The artist Rachel Hughes was actively involved in aiding and rescuing the victims of 9/11. As a result of having
been exposed to toxic dust and chemical contaminants,
Hughes has suffered from serious health problems for the
last 10 years. She has had to take numerous medications
and nutritional supplements just in order to continue liv66 ARTDISTRICTS l www.artdistricts.com
ing. Her work Pause Towers (2011) is an enormous Plexiglas
sculpture made up of hundreds of prescription bottles and
medical packaging that represent only a fraction of what
her body has ingested in the 10-year time period. This piece
constitutes evidence of the personal tragedy that her infirmity implies. Hughes has worked actively to inform Americans of the effects suffered by WTC Syndrome victims.
“‘PAUSE’ delves deep into the questions I face on a daily basis,” Hughes says. “Because of my illness, I have been forced
to ‘pause’ and reflect on the questions surrounding 9/11.”
Hughes’ testimonies have been assembled in the film 9/11
Dust and Deceit (2006) by Penny Little, which documents
the opinions of environmental health experts, doctors and
also the testimonies of thousands of firefighters, paramedics,
volunteers and workers who were exposed to the toxic dust
emitted by the towers in lower Manhattan, environmental
damage that will last for years to come.
The artist Gino Tozzi, for his part, exhibited Bird Brain
(2011). This piece made up of 9,200 images is the result of
combining 200 photos, which Tozzi found on the Internet,
of airplane fuselages damaged as a result of bird strikes. The
images reproduce the hole that the airplane in turn left in the
first tower that was hit. With this gesture, the artist causes
us to question how an airplane could hit a structure like
the towers and cause enough structural damage (according
to the official version of the facts) to result in the collapse
Rachel Hughes, Pause Towers, 2011,
Plexiglass WTC911, medical prescription
bottles, packages.
of both buildings. Tozzi also presents the sculpture No Step
(2011), which consists of an original airplane wing similar
to the one that struck the towers. He challenges the public
to move the wing inside the exhibition hall in order to verify
its lightness and fragility. No Step is situated next to a steel
replica of one of the building’s exterior columns. Another of
his works presented at this exhibition is a series of aluminum panels containing 2,998 crosses made from cut nails,
one for each of those who died in the terrorist act.
This exhibition appears at a time when Americans start
to reflect on the future that awaits them in a world controlled by major capital interests and by the financial institutions that dominate the economy and politics. Through art,
“PAUSE” is a call to reflect on and delve into the unanswered
questions surrounding the events of 9/11 and its devastating
consequences for American reality. Cumberland summarizes
the goal of this exhibition with these words: “What we wish
to achieve with this exhibition is to create a new pacific movement, including art, music and film, that is not for a negative
reason, nor in a violent way, but rather to educate and inform.
People are calling this out in a discreet way. That’s the way that
change can be made through the arts.” “PAUSE” was on view until the end of November 2011.
For more information contact LMNT 55 NW 36 St.,
33127. Phone: 305 572 9007 / 1 877 525 LMNT
info@L-M-N-T.com
S A C A S A S
F i n e
2910 Ponce de Leon Blvd.
Coral Gables, FL 33134
Tel (305) 447-1740
www.sacasas.com
Email: sacasas@aol.com
Lady Plays the Blues 48 x 36”
Acrylic on Canvas
A r t s
Sydia Reyes, Crest and Thoughs, 2009, steel, enamel, stainless steel, 108”x19”x36”, (6 pieces).
SCULPT MIAMI
By Shana Beth Mason
Now entering its fourth year, Sculpt Miami offers a unique
outlet for the oncoming wave of Art Basel Miami Beachgoers: a visual arena exclusively dedicated to contemporary
sculpture. As a medium, sculpture often finds itself relegated
to the confines of the Miami Beach Convention Center or
within the walls of a commercial gallery. Monumental sculpture is seen, at best, sparsely throughout the Greater Miami
landscape in the form of special commissions and the Art Unlimited section of Basel, itself.
Director Gala Kavachnina has opted for a more liberal approach to presenting monumental sculpture in the form of a
mini-fair branched out into a Wynwood location and in the garden adjacent to the Red Dot Fair in Midtown. Master sculptors,
including José Bedia, Alejandro Mendoza and Ronald Westerhuis, are among the 28 artists who will be showcasing their work.
Likely, this promises to be an unusual break in the steady
stream of satellite fairs: while there is a fair exclusively devoted to print material (the INK fair), there has yet to be a
comprehensive presentation of sculpture on its own terms.
Kavachnina delivers both recognizable and critically challenging work with her artists, all with diverse international
backgrounds and vastly different material usages.
Dominant elements are hardened, seemingly impenetrable
surfaces of bronze, steel, cast iron and carbon fiber: exquisitely polished stags toting machine guns, shining sharpened
flames rising upwards and stout, imposing rhombuses and
angled squares will create a space that requires both navigation and contemplation, simultaneously. Bedia and Mendoza
both work with gradations of bronze, a nod to the inherent
nostalgias of memorials and heroic sculpture resident in their
native Communist Cuba. Westerhuis elects steel polished to
an almost chrome-like coloring, acting as a free-standing
object capable of reflecting its surroundings and its observers. Other participants include Italian sculptor Maria Cristina Carlini (whose monumental works have been seen in the
People’s Square and the Forbidden City in China) and New
York-based sculptor James Tyler (whose colossal “brickhead”
sculptures have already been seen about Midtown Miami).
The primary objective appears to be gestural, versus narrative,
sculpture using their respective components as dialectic suggestions rather than proofs. Whether by nature of the medium
or subject matter, the works to be seen during Sculpt Miami
require a greater commitment to imagination: something that
has either been corrupted by the overtly literal creations as
KCHO, Columna infinita, 2004, bronze.
Roberto Fabelo, Animalia Series, 30” x 22”.
seen in oversized “pink snails” lining 5th Street in Miami
Beach or the ephemerally envisioned, often convoluted Postmodern creations within Basel’s walls.
Sculpt Miami will very likely outshine its own host venue at
Red Dot, having an international array of master artists contributing large-scale sculpture in a truly democratic environment.
Even if only slightly apart from the borders of the typical commercial art venue, this young fair ventures into sorely needed aesthetic territory. With coveted Calder mobiles, Flavin neon lights
and Murakami high-gloss flowers tucked away into the elite corners of Art Basel Miami Beach, Sculpt Miami offers an accessible
but rigorous interactive exploration.
Sculpt Miami 2011 has two venues:
46 NW 36 St. Wynwood Art District, 33127.
Red Dot Art Fair Tent, 3011 NE 1st Ave., 33127
Contact: Gala Kavachnina at 305 448 2060
info@sculptmiami.com / www.sculptmiami.com
Fair Hours: November 29, VIP Preview & Press, 6 – 10 pm
November 30, 11 am –7 pm
December 1 – 4, 11 am - 8 pm
VIP Event, December 3. 46 NW 36th Street, Miami FL
33127, Hours: 8 pm-11pm
Sculpt Miami Collection will be on view at 46 NW 36 St.
Wynwood from December 6, 2011 to October 30, 2012.
Ronald Westerhuis, Erotica, stainless steel.
Shana Beth Mason is a South Florida-based art critic and consultant. She pursued an M.A. with a focus on Modern and Contemporary Art from Christie’s Education in London.
Stefano Campanini opens Wine
by the Bay in Downtown MiamI
By Ashley Knight
This fall, Stefano Campanini, owner of Etra Fine Art, embarked upon a new project in Downtown Miami
that combines two of his greatest pleasures: collecting art and collecting wine. Wine by the Bay will function not only as a wine store that will satisfy the most demanding palates, but also as a cultural center that
each week will offer a program of exhibitions, poetry readings and lectures about the visual arts.
Stefano Campanini, director of Etra Fine Art and founder of Wine by the Bay. In the background, a painting by Colombian
artist Mario Vélez.
ami. An art and wine store across from the Miami Art Museum, the Science Museum, next to the Genting resort and
the Freedom Tower with its good exhibition program is beyond what I could have ever imagined. Downtown Miami is
growing again after a few years of depression in the real state
market. Sales in the Downtown area have increased notably
during the last months. Many upscale restaurants and bars
moved their headquarters there. I think that it will become
shortly the top area in our city. The energy in Downtown is
unique. You can’t find this vibe anywhere else in Miami.
A.K. - You mentioned that Wine by the Bay will function as
a cultural center that each week will offer a program of exhibitions, concerts, conferences, etc. Could you provide more details
about these programs?
S.C. - Well, concerts is an overstatement. I‘ll leave those for
the American Airlines Arena (laughs). But some live music on
the terrace on Biscayne Boulevard is within my reach, once in
a while, in the evening. So yes, we are organizing exhibitions,
lectures, poetry readings, book presentations, similar to what
made Etra Fine Art special.
Wine by the Bay is located at 888 Biscayne Bay, Suite 112 in
Downtown Miami.
Ashley Knight - Stefano, you have a long tradition as a gallerist, first in New York and then for the last seven years in
the Miami Design District with Etra Fine Art, a well-established and prestigious gallery within the city’s artistic community. What does this new project consist of?
Stefano Campanini - I am putting together two passions. I created a new formula that Downtown Miami needs—wine and art.
What’s better than this? At Etra Fine Art I display artists’ exhibitions that last a long period of time—at least one or two months
at a time. Here at Wine by the Bay I feel that I can change exhibitions weekly. It’s feels like a breath of fresh air. During Art Basel
week I will have an exhibition featuring Andy Warhol, Robert
Rauschenberg, Hunt Slonem and Donald Sultan, while many of
my wines are great for the wine collectors. See, here I am closing
the loop with a great collection of Burgundies, Bordeaux, Montrachets and the top end of Italian and California wines. I believe
I will have more wines 96 points and up that anyone else in town.
Etra Fine Art continues to exist, and I love being a gallerist, but
Wine by the Bay is going to be a great—and fun—project.
A.K. - Why precisely did you choose Downtown Miami as the
site for Wine by the Bay?
S.C. - I love the crowd and the energy of Downtown Mi-
A.K. - Over the years Etra Fine Art has supported various
charity projects for groups and communities in need not only
in the United States, but also in Central and South America.
Will Wine by the Bay also contribute to these causes?
S.C. - Certainly, I am very involved in the support of Arts
for Learning, a not-for-profit organization that educates children through art appreciation. We reach more that 10,000
children every year. Arts for Learning activities certainly
change the life of many children in our county. I am also
a founder of La Casa de la Mujer de las Américas, whose
mission is providing impoverished populations in Latin
America with sustainable solutions to improve their quality
of life by designing and building facilities that make them
self-supporting. We are planning different charity events at
Wine by the Bay to benefit both organizations.
A.K. - What exhibitions do you have planned for this space in
the next few months?
S.C. - I am planning to show a few well-known artists and a
few great local artists, something that I have never done at Etra
Fine Art, and it is going to be fun to have them as guests at the
openings. Among the internationally known artists, I will display
works by Francisco Toledo, Edgar Negret, Mario Vélez, David
Kessler, Robert Indiana, Fernando de Szyszlo and many others.
A.K. - What has the public’s reaction been to this new
cultural space?
S.C. - I didn’t plan to have such a big reaction, but many
people are talking about Wine by the Bay. Yes, I know many
people in Miami, but I didn’t expect it. Wow. As I said before, wine and art, what’s better than this? Cheers.
Wine by the Bay is located at 888 Biscayne Bay, Suite 112.
Downtown Miami, 33130. Phone 305 455 9791
www.winebtb.com / info@winebtb.com
NADA Is the Opposite of Nothing
Deauville Beach Resort Hosts the 2011
New Art Dealers Alliance Fair
By Irene Sperber
Deauville Beach Resort in Miami Beach.
For the third time in as many years, the New Art Dealers Alliance (NADA) will hold its acclaimed art fair in Miami Beach’s
historic Deauville Beach Resort Hotel.
Once one of the exclusive, “big room” hotels of the early
1960s glamour era, it was the site of the live broadcast of The
Beatles on the Ed Sullivan Show in 1964 during their American invasion. Deauville architect Melvin Grossman became
one of the most famed MiMo visionaries for his role in the
stretch of snazzy mid-century Collins Avenue hotels inhabited
by the Rat Pack, America’s “bad boys” of their era. This 1957
hotel has now come full circle to embody a new era at the
forefront of the world’s most prestigious art fairs.
Still stylishly beachy, this icon of American lore has added
a dose of panache to NADA’s already lofty position in the
art world by offering itself as the site of the organization’s
Art Basel Miami Beach run. The sweeping ocean views add
punctuation to NADA’s significant role as a non-profit alternative art fair of young and influential contemporary art galleries from around the world. Just nine years ago NADA had
simple beginnings in a vacant space off Lincoln Road before
graduating to the famed Ice Palace for five years. It settled in
its current location in 2009.
The Deauville dipped its own toe into the creative pool this
past August with the inception of an on-site alternative pop-up
gallery, Arte Pura, which featured an absorbing group of seven
Cuban artists living in Miami—Tomás Esson, Carlos Galindo,
Sergio García, Sergio Giral, Jr., Joaquín González, Jose Orbeín
and Sergio Payares—and their small format pieces.
NADA 2011 will make use of the Deauville’s Napoleon and
Richelieu ballrooms, as it has in the past, but this year also
expand into the Le Jardin room as a result of its highly successful 2010 fair. Accordingly, organizers expect more visitors
and new artists and galleries than even a year ago.
The most intriguing of new inclusions is an inevitable
technological communication tool called Paddle8, a website
that will exhibit and sell NADA art online. It is billed as “a
new destination for examining, understanding and acquiring
unique artworks....directed toward a generation of collectors,
artist and gallerists who see the web as a viable space for
learning.” Debuting on November 25, Paddle8 will be operational a week before the fair opens and remain open until December 11. During that time, visitors will be able to meander
through participating NADA booths and view online-only
pieces. You can also register for updates online at http://livepage.apple.com/»http://www.paddle8.com/artfairs
Event organizers hope that the fair’s continued cutting-edge
growth will encourage emerging artists, galleries and curators in town for Art Basel Miami Beach to visit NADA and
cultivate a climate that will ensure the success of the next
generation of creative stars. NADA Art Fair will take place from December 1 – 4, 2011.
Deauville Beach Resort, 6701 Collins Avenue, Miami Beach,
Florida 33141. For more information visit
www.deauvillebeachresort.com / www.nadaartfair.org
Art Fair Hours: Thursday, Dec 1: 2pm to 8pm / Friday, Dec 2:
11am to 8pm / Saturday, Dec 3: 11am to 8pm / Sunday, Dec
4: 11am to 5pm. Admission is free and open to the public.
NADA Art Fair 2009 at the Deauville Beach Resort.
RAYMOND
HERNANDEZ
YOUNG APOLLO
ACRYLIC / CANVAS
RAYMONDHERNANDEZ.COM
socialshots
FORT MYERS
VERO BEACH
Alice Ferguson,
Carol Staub,
and Margaret
Goembel at
Gallery 14’s Gala
Season Opening
Reception on
November 4th
Artist Cindy Jane at Arts for ACT Gallery
Artist N! Satterfield at Howl Gallery.
Photos: Raymond Hernandez
Steve Schindel, Artist Francis Mesaros,
and Paul Landry toasting Gallery 14’s
5th Birthday at the November 4th Gala
Artists Judith Ragusa and Judy
Burgarella at opening reception of
“European Doorways”. Artists Guild
Gallery
Executive Director of Intrepid Art Gallery Victoria Palacios, Penelope, Vero Beach Art Museum Curator Jay Williams, Artist Sean Sexton,
and Johanna Jones at Intrepid Gallery
FORT LAUDERDALE
Artist Raymond Hernandez at Day of the Dead exhibition, FAT
Village
Artist-Curators Peter Symons and Leah Brown at Nocturnes,
FAT Village. Photo: Raymond Hernandez
socialshots
MIAMI
Nestor Leal with Artist Orlando Naranjo. Leal’s
Gallery
Artist Héctor Molne, Marcel Molne, Artists Orlando Naranjo and Vicente DopicoLerner with Gallery Director Nestor Leal. Leal’s Gallery
CORAL GABLES
COCONUT GROVE
Cristina Chacon
& Artist Carlos
Lersundy at
the opening of
“Innerscapes”.
Cristina Chacon
Gallery
Dania Sierra, guest, Mariana Carreno, artist Gilda Sacasas, and
Emilio Sauma at GDS Fine Arts
Dania Sierra, Lucy Pereda, and artist Gilda Sacasas at GDS
Fine Arts. Photo: Gus Photography
Gallery Director Lissette Benitez, Frank Vilar, Gina Vilar and
Artist Humberto Benitez at Humberto Benitez Fine Art
Ramón Cernuda, Nercys Cernuda, Ellery Brown, Lowe Art
Museum Director Brian Dursun and Adriana Verdeja at
Cernuda Collection on November 2011.
Kevin Crain, Gallery Director Virginia Miller and artist Jose
Angel Vincench at ArtSpace Virginia Miller Galleries
socialshots
CORAL GABLES
BIRD ROAD ART DISTRICT (BRAD)
Geraldine Szabo,
Yeni Blanco,
AnaMaria
Cifuentes, and
Maria Virginia
Perez at Aperture
Studios.
Keith and Silvia Rosenn with artist Jose
Angel Vincench at ArtSpace Virginia
Miller Galleries
Francia Quijada, Virginia Miller and Raul
Valdes-Fauli at ArtSpace Virginia Miller
Galleries
Anika Batista with Rafael Domenech,
ArtSpace Virginia Miller Galleries
Stephanie Medina, Robert Lee from
Speak Miami, and AnaMaria Cifuentes at
Aperture Studios.
Katia & Troy Artze with Artists Rozsa &
Juan Luis Perez at Perez Art Gallery
Dr. and Mrs. Jonathan Messinger, Kerry Perez, artist MANO, Mr. and Mrs. Jerry
Bleemer and Karl Cetta at MANO Fine Art
DESIGN DISTRICT
Ben and Eilah Beaver, Jose Angel Vincench, Cecilia Rivera, and Virginia Miller,
ArtSpace Virginia Miller Galleries
Artist Juan Ricardo Mejia and Alicia
Restrepo, director of Etra Fine Art
socialshots
Maria Alexander, Vincent Alexander & William Braemer at Art
Fusion Galleries
Carolyn Haligon, Juan Ricardo Mejia , Olivier Haligon, Mario
Velez and Damian at Etra Fine Art during the opening reception
of “Juan Ricardo Mejía: Subtle Spaces”
WYNWOOD ART DISTRICT
Elaine Minionis
Rodolfo
Vanmarcke
directors of
The Lunch Box
Gallery
Mark T Smith, Tina Remor and MaryLynn
Blasutta Parise at Zadok Gallery.
Morella Grau,
Francisco Perez,
Raul Fonseca
and Maria Emilia
Orozco at The
Lunch Box Gallery
Curator Milagros
Bello, artist Lamia
Khorshid and Linda
Chapin at Lamia’s
show Hotel St
Michel, Curator’s
Voice Art Projects.
Photo: Raymond
Hernandez
Artists Miguel
Padura, Gustavo
Acosta, Gory and
Jose Manuel Fors,
Pan American Art
Projects. Photo:
Fernanda Torcida
Curator Irina Leyva-Perez, artist Jose
Manuel Fors and Gallery Director
Janda Wetherington at the opening
of ”Fragmentos”, Pan American Art
Projects. Photo: Fernanda Torcida
President of Pan
American Art
Projects Robert
Borlenghi, artist
Jose Manuel
Fors and Jose
de la Torre, Pan
American Art
Projects. Photo:
Fernanda Torcida
Dror Zadok, Miriam Zadok, artist Marshall Arisman, Dee Ito
and Zadok Gallery Director Mark T Smith at Zadok Gallery
ARTGUIDE l FLORIDA
FEATURED:
GALLERY
MUSEUM
AVENTURA — eustis
ARTIST STUDIO
PRIVATE COLLECTION
4
EXOR Galleries
291 Via Naranjas, 33432
CORAL GABLES
Fine Art Group Publishing
818 W. Camino Real, 33486
DANIA
Griffin Gallery Ancient Art
608 Banyan Trail, 33431
International Fine Arts
PO Box 140, 33429
1
Karen Lynne Gallery
101 Plaza Real, 33431
see Miami – Coral Gables
Patou Fine Art
1855 Griffin Rd., 33004
Rosenbaum Fine Art
1855 Griffin Rd., 33004
DAVIE
2
Kevin Mc Pherrin Int. Gallery
4851 North Dixie Hwy., 33431 3
Nathan D. Rosen Museum
Gallery
9801 Donna Klein Blvd., 33428
1
2
4
Pavo Real
6000 Glades Rd., 33431
3
3
2
AVENTURA
Fineartgasm.com
3615 NE 207th St., 33180 Rosenbaum Fine Art
150 Yamato Rd., 33431
Sher Gallery
3585 NE 207th St., 33180
Steve Newman
468 East Boca Raton Rd., 33432
Sundook Fine Art Galleries
8903 W. Glades Rd., 33434
Frank Weston Benson, Red and
Gold, 1915, oil on canvas, 31” x 39”.
Museum Purchase.
Boca Raton Museum of Art
T 561 392 2500
F 561 391 6410
www.bocamuseum.org
Wed-Fri 10 am -5 pm, Sat-Sun
12-5pm
The World According to
Federico Uribe
Through Dec. 4, 2011
Outsider Visions
Through Jan. 8, 2012
American Treasures:
Masterworks From the Butler
Institute of American Art
Dec. 13, 2011 - March 18, 2012
Martin Schoeller: Closeup
Jan. 18 - March 18, 2012
3
BAL HARBOUR
see Miami – Bal Harbour
BELLEAIR BLUFFS
Art at the Plaza
100 N. Indian Rocks Rd., 33770
BOCA RATON
Addison Gallery
1 Boca Raton Children’s
Museum
498 Crawford Blvd., 33432
Boca Raton Historical Society
Town Hall 71 North Federal Hwy.,
33432
DAYTONA BEACH
Museum of Arts & Sciences
352 S. Nova Rd., 32114
Southeast Museum of
Photography
1200 W. International Speedway
Blvd., 32114
Phone 386 506 4475
www.smponline.org
In the Light of Darkness
Portraits from Afghanistan
Through December 16, 2011
DEERFIELD BEACH
4
Friedland Art Inc.
2875 NE 191 Street, 33180
Gallart
20633 Biscayne Blvd., 33180
T 305 932 6166
F 305 937 2125
www.gallart.com
Mon-Sat 11-8, Sun 12-6
Rosenbaum Contemporary
T 561 994 9180
F 561 994 5652
www.rosenbaumcontemporary.com
Mon-Sat 10 am - 5 pm
Broward Community College
3501 SW Davie Rd., 33314
African American Museum of
the Arts
325 South Clara Ave., 32721
Gold Leaf Gallery & Framing
101 N Woodland Blvd., 32720
Zita Waters Bell Antiques
21803 Arriba Real, 33433
Museum of Florida Art
600 N. Woodland Blvd., 32720
BOKEELIA
DELRAY BEACH
Koucky Gallery and Gardens
5971 Baypoint Rd., 33922
Boca Raton Museum of Art –
The Artists’ Guild
512 E Atlantic Ave., 33483
BONITA SPRINGS
Shaw Gallery
8200 Health Center Blvd., 34135
BRADENTON
Village of The Arts
1015 12th Ave. West, 34205
CLEARWATER
Children Science Emporium
300 South Military Trail, 33486
The Plainsmen Gallery
2450 Sunset Point Rd., 33765
Elaine Baker Gallery
COCONUT GROVE
DELAND
University Galleries - Florida
Atlantic University
777 Glades Rd., 33431
2
4
Vignari Gallery
P.O. Box 1264, 33443
see Miami – Coconut Grove
Metro Art Gallery
38 E. Atlantic Ave., 33444
Morikami Museum and
Japanese Gardens
4000 Morikami Park Rd., 33446
T 561 495 0233
www.morikami.org
Tue-Sun 10 am - 5 pm
EUSTIS
Lake Eustis Museum of Art
200 B. East Orange Ave., 32726
FLORIDA l ARTGUIDE
fort LAUDERDALE — FoRT MYERS
FEATURED:
FORT LAUDERDALE
GALLERY
MUSEUM
3
FORT LAUDERDALE – FAT VILLAGE
Galèrie Jenner / Artspace
Sailboat Bend Artist Lofts
1310 S.W. Second Court,
Loft 307, 33312
Alfred Phillips’ Art Studio
113 NW 5th St., 33301
6
12
Andrews Living Arts
23 NW 5th St., 33301
The Hamilton Gallery
615 East Las Olas Boulevard,
33301
1
8
7
9
5
Art Wear
521 NW 1st Ave., 33301
Las Olas Fine Art
701 East Las Olas Boulevard,
33301
10
4
2
Downtown Studio
545 NW 1st Ave., 33301
Francisco Sheuat Art Studio
115 NW 5th St., 33301
Lipworth Fine Art
3100 NE 47th Court, 33308
Museum of Art Fort
Lauderdale – Nova
Southeastern University
One E. Las Olas Blvd., 33301
www.moaflnsu.org
Offering of the Angels: Old
Master Paintings and Tapestries
from the Uffizi Gallery
Thru April 8, 2012
Wall Paintings: Installations by
Arturo Herrera, Gavin Perry,
Jen Stark and Roberto Behar &
Rosario Marquardt
On view beginning on Nov. 30,
2011
1
Native Visions Gallery
807 East Las Olas Blvd.,33301
Julio Green Art Studio
115 NW 5th St., 33301
The Siegal Gallery
509 NE 3rd Ave., 33304
Rachel Henriques’ Studio
506 NW 1st Ave., 33301
Denaro
505 NE 3rd Ave., 33304
The Art of Alex
500 NW 1st Ave., 33301
Soccoccio Art
440 NE 3rd Ave., 33304
The Puppet Network
500 NW 1st Ave., 33301
Ly-Siefker Art Gallery
436 NE 3rd Ave., 33304
Women’s Theatre Project
505 NW 1st Ave., 33301
The Girls Club Art Gallery
117 NE 2nd Ave., 33304
World and Eye Arts Center
17B NW 5th St., 33301
IWAN space the Bubble
warehouse/gallery
810 NE 4th Ave., 33304
FORT LAUDERDALE – FLAGLER
3RD AVENUE
Pocock Fine Art & Antiques
1200 East Las Olas Blvd., 33301
FORT MYERS
4
Archer Gold Gallery
805 NE 4th Ave., 33304
Sailboat Bend
1310 S.W. Second Court, 33312
1
Cheryl Fausel, Just Dropped In.
Courtesy Arts for ACT Gallery.
3
4
5
Alliance for the Arts
10091 McGregor Blvd, 33919
2 Art League of Fort Myers
1451 Monroe Street, 33902
3 Art of the Olympians
1300 Hendry St., 33901
Art at the Oasis
2995 Frierson St, 33901
Bob Rauschenberg Gallery
8099 College Parkway SW, 33919
4 daas Gallery
1542 Broadway Street,
Downtown, 33901
Phone 239 939 1194
www.daasgallery.com
Artist reception every 1st. Friday
6
2
Laurie Klein (student of Ansel
Adams) Photography
Alicia Schmidt - Pottery and
more ...
Jef Hernandez - Painting
Reception: Jan. 6, 2012, 6-10 pm
On view thru Jan. 30, 2012
12 Coloring the World Gallery
1422 Dean St., 33901
Nothard
724 NE 3rd Ave., 33304
GALLERY WALK 4TH SATURDAY
1
PRIVATE COLLECTION
GALLERY WALK 1ST FRIDAY
Verve Gallery
924 NE 20th Ave., 33304
6
1 Gallery 721
721 Progresso Dr., 33304
ARTIST STUDIO
1 Arts for ACT Gallery
2265 First St., 33901
Phone (239) 337-5050 / (239)
939-2553
www.artsforactgallery.com
Hours: Mon-Fri 11 am- 4:30 pm
Saturday by Appointment.
Cheryl Fausel - Watercolors
Honey Costa - Watercolors
Ron Evans - Mixed Media
Reception: Dec. 2, 6-10 pm
On view thru Jan. 2, 2012
Edison & Ford Winter Estates
2350 Mc Gregor Blvd. 33901
5 HOWL Gallery
1514 Broadway #101, 33901
8 In One Instant
1526 Jackson Street, 33901
IMAGINARIUM
Hands on Museum and Aquarium
2000 Cranford Ave, 33916
9 Leoma Lovegrove Gallery in
the Franklin Shops
2200 First St. 33901
ARTGUIDE l FLORIDA
FEATURED:
GALLERY
MUSEUM
ARTIST STUDIO
FORT MYERS — MELBOURNE
PRIVATE COLLECTION
HOMESTEAD
The Children’s Gallery
51 North Krome Avenue, 33030
3
JACKSONVILLE
8
Brown Museum Jamali Fine Art
312 West 8th St., 32223
Cummer Museum of Art &
Gardens
829 Riverside Ave., 32204
7
Dawson Gallery
4444 Hendricks Ave., 32207
6
4 Gingerbread Square Gallery
1207 Duval St., 33040
5 Glass Reunions
825 Duval St., 33040
6 Guild Hall Gallery
614 Duval St., 33040
7 Haitian Art Company
1100 Truman Ave., 33040
8 Harrison Gallery
825 White St., 33040
9 KW Light Gallery
1203 Duval St., 33040
Fogle Fine Art & Accessories
3312 Beach Blvd., 32207
KISSIMMEE
Julington Creek Gallery
115 Bartram Oaks Walk, 32259
Gallery One Artists
101 E. Dakin Ave., 34741
Museum of Contemporary Art
333 North Laura St., 32202
Phone 904 366 6911
www.mocajacksonville.org
Shared Visions
Larry Clark
Through January 8, 2012
LAKE WORTH
R. Roberts Gallery
3606 St. Johns Ave., 32205
Museum of Contemporary Art
601 Lake Ave., 33460
Stellers Gallery of San Marco
1409 Atlantic Blvd., 32207
LAKELAND
5
9
2
1
10 Mad Hatter Gallery in the
Franklin Shops
2200 First St., 33901
Sidney & Berne Davis Art
Center
2301 First Street, 33901
Phone 239 333 1933
www.sbdac.com
Mon-Fri 10 am - 5pm
4
Avenue A Gallery
223 Avenue A, 34950
GAINESVILLE
6
7 Space 39
39 Patio de Leon, 33901
Southwest Florida Museum of
History
2031 Jackson St., 33901
The Art Galleries of Florida Gulf
Coast University
10501 Fgcu Blvd. South, 33965
FORT PIERCE
A.E. Backus Museum and
Gallery
500 North Indian River Drive, 34950
Art Bank
40 studios under one roof
111 Orange Avenue 34950
Open Mon.-Fri. / Loft: 10 am-3
pm, Underground: 1-3 pm
Open House: 2nd Wednesday,
5-8 pm
Find Art Bank on Facebook
Harn Museum of Art –
University of Florida
SW 34th St. and Hull Rd., 32611
T 352 392 9826
www.harn.ufl.edu
Soaring Voices
Thru Dec. 31, 2011
A Singular Vision: Recent Gifts
from the Freundlich Collection
Thru June 03, 2012
Lost Art
2441 Northwest 43rd St., 32606
HIALEAH
Santiesteban Print Schmidt
2387 W 80 St. Suite C-7, 33016
T 786 444 0475
www.santiestebanprintschmidt.
com / tallergrabado@
santiestebanprintschmidt.com
HOLLY HILL
Wunderly Galleries
325 Sixth St., 32117
Vaughn Cochran
11702 Beach Blvd., 32246
JACKSONVILLE BEACH
Polk Museum of Art
800 East Palmetto St., 33801
MARCO ISLAND
Artists Colony at the Esplanade
740-760 North Collier Blvd,
34145
J. Johnson Gallery
177 4th Ave. North, 32250
Botero Gallery
1089 N. Collier Blvd., 34145
JUPITER
MELBOURNE
Elite Art of Africa
601 W Indiantown Rd., 33458
Brevard Art Museum
1463 Highland Ave., 32935
Hibel Museum of Art
5353 Parkside Drive, 33458
Cuba! Gallery of Fine Art
1900 S. Harbor City Boulevard,
Suite 124-A
(Inside the coral, Spanish-style
building corner U.S. 1 and New
Haven Avenue), 32901
Profile International Galleries
of Fine
50 S. US 1, 33477
KEY WEST
1 Alan S. Maltz Gallery
1210 Duval St., 33040
Spanda Art Gallery
4441 Hollywood Blvd., 33021
2 Archeo Gallery
1208 Duval St., 33040
Margot Stein Gallery
512 Lucerne Ave., 33460
Eclectic Galleries
2405 3rd St. South, 32250
HOLLYWOOD
Art Mundo Center
111 Orange Ave., 34950
Art Link International
809 Lucerne Ave., 33460
3 Gallery on Greene
606 Greene St., 33040
Fifth Ave. Gallery
1470 Highland Ave., 32935
LoPressionism Gallery
1002 E. New Haven Ave., 32901
FLORIDA l ARTGUIDE
MIAMI — miami bird road
FEATURED:
MIAMI
Flager Arts Space
172 West Flager Street, 33130
Alicia H. Torres Studio
Miami Iron Side.
Mimo Historic District
7610 NE 4th Court, 33138
Piazza Art Studios #117
www.aliciahtorres.co
Frost Art Museum
10975 SW 17th., St., 33199
T 305 348 2890
www.thefrost.fiu.edu
Tour de France/Florida
Thru March 18, 2012
Alonso Art
200 SW 30 Rd., 33129
Amat Art Gallery
2300 SW 57 Ave., 33155
ARTIST STUDIO
Miami Art Museum
101 West Flagler St. , 33130
T 305 375 3000
www.miamiartmuseum.org
Tue-Fri 10-5, Sat-Sun 12-5
Thru Jan. 8, 2012
American People, Black Light:
Faith Ringgold’s Paintings of the
1960s
Thru Jan. 1, 2012
Enrique Martinez Celaya:
Schneebett
Thru Jan. 1, 2012
New Era Fine Art
801 Brickell Key Blvd., 33131
Antique & Contemporary
Posters
6970 SW 124 St., 33156
Oxenberg Fine Art
2730 SW 3rd Ave., 33129
Beaux Arts Gallery
2451 Brickell Ave., 33129 Vicente Rodríguez Bonachea. Courtesy of Leal’s Gallery & Frames
Bettcher Gallery-Miami
5582 NE 4th Ct., 33137
Leal’s Gallery & Frames
5143 SW 8th St. 33144
T. 786 337 1628
www.lealsgalleryandframes.com
Cuban Show: Kcho, Roberto
Fabelo, Pedro Pablo Oliva,
Carlos Quintana, Hector Molné,
Manuel Mendive, Vicente
Rodríguez Bonachea, Orestes
Gaulhiac, Vicente Dopico,
among others.
Dec. 9, 2011 - Jan. 9, 2012
Carol Jazzar Contemporary Art
158 NW 91st St., 33150
CIFO (Cisneros Fontanals Art
Foundation )
1018 North Miami Ave., 33136
Durban Segnini Gallery
3072 SW 38 Ave., 33146
Farside Gallery
1305 SW 87th Ave., 33174
Piazza Art Studios
Miami Iron Side
7610 NE 4th Court, 33138
Spirit del Art
900 South Miami Ave., 33130
THIVO Studio
Ceramics/Nerikomi Technique
Miami Iron Side
7610 NE 4th Court, 33138
Piazza Art Studios #115
www.thivo.com
PRIVATE COLLECTION
Esteban Blanco, PARIS, Bronze, 23”
x 22” x 11”. Courtesy Accent Alternative Art Space.
1 Accent Alternative Art Space
4841 SW 75th Ave, 33155
Phone 305 968 3776 /
305-968-5554
Email: eblanco75@aol.com
www.estebanblanco.com
Esteban Blanco Sculptures
Thru Feb. 15, 2012
Bird Road Art Walk Openings 3rd Saturdays: Dec. 17, 2011
and Jan. 21, 2012, 7-10 p.m.
Other times by appointment.
3 Akuara Teatro Workshop
Theater Avellaneda
4599 SW 75 Avenue, 33155
2 Allison Gallery
7211 SW 48 St., 33155
Torna and Prado Fine Art
Collection
6015 SW 49th St., 33155
GALLERY WALK 3RD SATURDAY
8
25
MUSEUM
Miami Children’s Museum
980 MacArthur Causeway, 33132
Anne-French Fine Arts
9334 NW 50th Doral Circle S.,
33178
3
GALLERY
1
Vizcaya Museum & Gardens
3251 South Miami Ave., 33129
MIAMI – BAL HARBOUR
6
7 9
13 19 14 12
13
21
20
12
15
4 19
10
Opera Gallery
9700 Collins Ave., 33154
MIAMI - BIRD ROAD ART DISTRICT
69 Seconds. Courtesy Aperture Art
Studios.
8
7
1
24
27 23
15
16
3
18
19 Abuela Art Gallery/Juan
Abuela
4421 SW 75th Ave, 33155
6
28
11
9
10
22
5 5
1
4 26
11
17
15 3rd Door Art Project
4485 SW 75 Ave, 33155
2
2
ARTDISTRICTS
FLORIDA
ADVERTISE HERE
info@artdistricts.com
786-274-3236
1 Aperture Studios
Full Service Reproduction House
Reproduction / Art Space
7360 SW 41st St., 33155
Phone 305.424.7524
info@aperturesite.com
orders@aperturesite.com
www.aperturesite.com
http://www.facebook.com/pa
ges/Aperture-Studios
Bird Road Art Walk Openings 3rd Saturdays Dec. 17 & Jan. 21,
7-10 p.m.
Photo Exhibition 69 Seconds.
All proceeds of this event will
benefit Susan G. Komen for the
Cure Foundation.
ARTGUIDE l FLORIDA
FEATURED:
GALLERY
MUSEUM
miami BIRD ROAD
ARTIST STUDIO
PRIVATE COLLECTION
GALLERY WALK 1ST SATURDAY
27 Nickel Glass Studios
4416 SW 74 Ave, 33155
4
2
3
1
7
9
8
6
5
MANO, Saki (detail), mixed media.
Courtesy of MANO Fine Art Project
Space.
28 Art by Navedo
7225 SW 48 Street, 33155
Artworks Associate II
4180 SW 74 Ct., 33155
25
Bohemio Fine Art
4839 SW 75 Ave, 33155
26
Cesar Art Studio
4377 SW 75 Ave, 33155
8
19 Chavarriaga Fine Art Studio
4229 SW 75th Ave, 33155
Ediciones Malgon
4229 SW 75th Avenue
Suite F, 33155
4
3 Erik Speyer Studio
4182 SW 74th Court, 2nd Floor,
33155
Leonor Murciano, Jardín del Amor,
Cuban Series, oil on canvas, 30” x 40.”
11 Leonor Murciano Fine Arts
Gallery
7259 SW 48th St. 33155
Phone: 305 668 5556 / Cell: 305
498 4328
Hours: Tues-Fri 11am -5pm / Sat
11am-4pm
www.leonormurcianofinearts.com
ltmurciano@aol.com
12 MANO Fine Art Project
Space
4225 SW 75 Ave., 2nd Floor
Miami, FL 33155
Phone: 305.467.6819/
305.467.0066
info@manofineart.com
Tue - Fri 11 am – 6 pm
Sat & Sun. by appointment
JUTE: Allegories in Brawn
& Beauty. A solo exhibition
featuring large format
works by MANO
Thru Jan. 2012.
Champagne Reception with
MANO in conjunction with a
Holiday Trunk. Show introducing
designer Isa Jimenez
Sat., Dec. 17, 5-10 pm
Closing Reception for the
exhibition, JUTE
Sat., Jan 21, 2012, 7-10 pm
13 Miami Art Club
4227 SW 75th Ave., 33155
José Grillo, Hombre Tiempo, 2011,
acrylic on canvas, 40” X 72.” Courtesy
Onate Fine Art.
7 Onate Fine Art
4385 SW 72nd Ave, 33155
Phone 305 667 6942
www.onatefineart.com
Group Show
16 Pablo Lazo Studio
4587 SW 75th Ave, 33155
Perez Art Gallery
7432 SW 42nd Street, 33155
17 Rafael Consuegra / Caudart
Gallery & Studio
4866 SW 75th Ave, 33155
rafaelconsuegra@comcast.net
www.rafaelconsuegra.com
18 Ray Azcuy Art Studio
4418 SW 74th Ave, 33155
20 Rofle R. Studio
4229 SW 75th Avenue
Suite E, 33155
21 Romero-Hidalgo Artists’
Studios
4241 SW 75th Ave, 33155
4 Esteban Blanco Art Studio
4843 SW 75th Ave, 33155
Luis Fuentes’ Radical Art
Spot
4229 SW 75 Avenue, 33155
Frame & Framing, Inc
7352-C SW 41st Street, 33155
23
Luisa Mesa Artspace
4432 SW 74 Ave, 33155
22 Rowe Studios Art Glass
4768 SW 72nd Ave, 33155
Gina Guzman / Stained
Glass Studio
4735 SW 75th Ave, 33155
Madero Art
4225 SW 72nd Ave, 33155
24 Sandy Levy/Visual Impact
Photography
4406 SW 74 Ave, 33155
15
6
5
Ismael Gomez Peralta Art
Studio
4587 SW 75th Ave, 33155
6
10
ARTDISTRICTS
FLORIDA
7 Ilisastigui’s Studio
4229 SW 75th Ave.
Suite A, 33155
9 Lambertini Art
4229 SW 75th Ave.
Suite C, 33155
Las Sillas Gallery
4301 SW 75 Avenue
13
10 Santa Fe Colonial Gallery
4704 SW 72nd Ave, 33155
© Néstor Arenas. Courtesy Néstor
Arenas Fine Art
ADVERTISE HERE
786-274-3236
14 Nestor Arenas Art Studio &
Photography
4229 SW 75th Ave, Suite D., 33155
Phone: 786 486 6959
contact@nestorarenas.com
www.nestorarenas.com
Bird Road Art Walk Openings 3rd Saturdays Dec. 17 & Jan.
21, 7-10 pm. Other times by
appointment
11 Speak Fridays!
Miami’s Most Diverse Open Mic
4925 SW 74 Ct, 33155
8 Valmar Framing Gallery
4150 SW 74th Ct., 33155
9 Victor Gomez Workshop
4702 SW 75th Ave, 33155
1 Warehouse Alternative
Space/Andy Bilbao
4396 SW 74 Ave, 33155
12 The Young Artist Academy
4243 SW 75 Ave, 33155
FLORIDA l ARTGUIDE
COCONUT GROVE - MIAMI CORAL GABLES
FEATURED:
GALLERY WALK 1ST FRIDAY
MIAMI – COCONUT GROVE
ARTIST STUDIO
5 Max in the Grove
2996 McFarlane Road, 33133
Coral Gables Merrick House
907 Coral Way, 33134
6 Blu Moon Studio of Art
3444 Main Highway, 33133
Domingo Padron Art Gallery
1518 Ponce de Leon Blvd.,
33134
GroveHouse Artists
Mayfair Promenade, 33133
A C Fine Art
2911 Grand Avenue, 33133
3
Frameworks
3196 Commodore Plaza, 33133
Galerie Des Beaux Arts
3220 Calusa St., 33133
MIAMI – CORAL GABLES
Alhambra Antiques Center
2850 Salzedo St., 33134
1 The Americas Collection
214 Andalucia Ave., 33134
7 Nomade Art Gallery
1
PRIVATE COLLECTION
4 RODEZart.com Gallery
CocoWalk. 3015 Grand Ave.,
Suite 237, 33133
Artway 66 Gallery
2911 Grand Avenue, 33133
2
1
MUSEUM
Fax: 305 461 1063
Email: cernudaarte@msn.com
www.cernudaarte.com
Mon – Fri 10:30 am – 6 pm
Sat 12n – 6 pm
Gallery Reception: First Friday of
Every Month, 7 – 10 pm
Works by: Lam, Amelia, Carreño,
Portocarrero, Víctor Manuel,
Mariano, Enríquez, Bermúdez,
Mijares, Cárdenas, Tomás
Sánchez, Mendive, Gina Pellón,
Flora Fong, Florido, Vicente
Hernández, Besmar, Sandro de
la Rosa, Irina Elén, Giosvany
Echevarría, Ramón Vázquez,
David Rodríguez, Dayron
González & others.
1 Arts Festival Gallery
Mayfair East Atrium
3390 Mary St., Suite 128, 33133
2
GALLERY
Coconut Grove Arts Festival
Gallery
3390 Mary Street, 33133
Jose Angel Vincench, Dissident
(Dutch): Compromise or Fiction
of the Painting Series, 2009-2010,
acrylic on canvas, 48” x 48”. Courtesy
of ArtSpace/Virginia Miller Galleries,
Coral Gables (Miami), Florida.
Fairchild Tropical Botanic
Garden
10901 Old Cutler Rd., 33156
Galleria Ca’ D’ Oro
135 San Lorenzo Avenue, 33146
4
5
3
Mario Toral, Divertimento, 55”x70”,
oil on canvas. Courtesy Cristina
Chacón Gallery.
8 Cristina Chacón Gallery
3162 Commodore Plaza
Suite 1F2, 33133
T. 305 442 2884 / 305 7257492
www.cristinachaconstudiogallery.
com
info@cristinachaconstudiogallery.
com
Tue-Fri: 11 am - 5 pm and always
by appointment
Art Stars in the Grove. Gala to
Benefit Miami Children Hospital
Reception: Nov. 28, 6-9 pm
Mario Toral: Bodies and Spirals
Reception: Jan. 19, 2012, 6-9
pm
Midori Gallery
9
6
Dharma Studio Contemporary Art
2 ArtSpace Virginia Miller
Galleries
169 Madeira Ave., 33134
T 305 444 4493
F 305 444 9844
www.virginiamiller.com
info@virginiamiller.com
Mon – Fri 11 – 6 pm, Sat. and
evenings by appointment
Vincench vs Vincench: A
Dissident Dialogue from Cuba
Thru February 2012
Books and Books
265 Aragon Avenue, 33134
Centro Cultural Español
800 Douglas Rd., 33134
Gilda Sacasas, Los Hermanos
Martin, 2011, acrylic on canvas, 48” x
60”. Courtesy GDS Fine Arts Studio.
4 GDS Fine Arts Studio
2910 Ponce de Leon Blvd., 33134
Phone: 305 447 1740
Cel. 305 332 1905
Fax. 305 447 9948
Email: sacasas@aol.com
Hours: Tue-Fri 11am - 5 pm,
Sat 11 am - 4 pm
After hours: By appointment only.
Urban Expressionism
Dec. 2, 2011 - Jan. 6, 2012
ARTDISTRICTS
FLORIDA
Wifredo Lam, The Family, (La
Familia), 1975, oil on canvas, 19 ¾” x
27 ½”. Courtesy of Cernuda Arte.
3 Cernuda Arte
Phone: 305 461 1050
ADVERTISE HERE
786-274-3236
ARTGUIDE l FLORIDA
FEATURED:
GALLERY
MUSEUM
MIAMI CORAL GABLES — MIAMI-downtown
ARTIST STUDIO
PRIVATE COLLECTION
GALLERY WALK 2ND SATURDAY
Hours: Mon-Sat 10 am - 6 pm
www.etrafineart.com
stefano@etrafineart.com
Highlights of 2012
Dec.1, 2011 - Jan. 13, 2012
Opening: Dec. 1, 6-10 pm
9
2
3
6
1
7
10
8 Locust Projects
155 NE 38th St., 33137
T 305 576 8570
www.locustprojects.org
locustprojects@yahoo.com
Thu-Sat 10 am -5 pm
12
4
8
11
MIAMI – DESIGN DISTRICT
Lenore Robins, …And So On…,
2011, acrylic & resin on wood, 32”
x 32” x 3.5”. Courtesy Art Fusion
Galleries.
Art Fusion Galleries
1 NE 40th St., 33137
Suites 3, 6 & 7
T 305 573 5730
F 305 573 5769
www.artfusiongallery.com
info@artfusiongallery.com
Hours: Mon-Sat 11am – 6pm
2nd Saturdays: 11am - 10pm
Fusion VIII - Synesthesia
Thru December 21, 2011
Odyssey 2012
January 2 – March 19, 2012
Ongoing exhibition of William
Braemer in Suite 3
Gallery Nights: Sat. Dec. 3, 7-11
pm, Dec. 10, 7-10 pm, Jan. 14,
7-11 pm, Feb. 11 and March 10,
7-10 pm
Live Music, hors d’oeuvres, and
refreshments
Valet parking available by South
Florida Parking.
3
Humberto Benítez, Bellowing
sleeves (detail), acrylic on canvas,
24” x 48”. Courtesy H. Benítez Fine
Art Gallery.
H. Benitez Fine Art Gallery
305 Alcazar Ave. # 4, 33134
Phone 786 877 1045
www.humbertobenitez.com
hbenitezart@aol.com
Hours: Mon-Fri 11:30 am – 6:00
pm / Saturdays by appointment
The artist will be exhibiting at
Miami Solo, Booth 404
1
5 Jorge M. Sori Fine Art
2970 Ponce de Leon Blvd.,33134
Klara Chavarria Contemporary Art
6 Lawrence Savage Galleries
Lowe Art Museum, University
of Miami
1301 Stanford Drive, 33124
Ninoska Huerta Gallery
626 Coral Way # 601, 33134
Tresart
550 Biltmore Way, 33134
Jason Shawn Alexander, Undertow,
2011, oil on canvas, 54” x 54”. Courtesy of 101/exhibit.
1 101 Exhibit
101 NE 40th St., 33137
T 305 573 2101
F 305 573 6101
www.101exhibit.com
info@101exhibit.com
Tue-Sat 11-7
Undertow: Jason Shawn
Alexander
VIP Reception and Press Preview:
December 1st., 7-10 pm
Gallery Walks: Dec. 10, 2011 and
Jan. 14, 2012
Dec. 2, 2011 – Feb. 8, 2012
2 Adamar Fine Arts
4141 NE 2nd Avenue, 33137
Bas Fisher Invitational
180 N.E. 39th St., 33137
4
Markowicz Fine Art
1 NE 40th Street # 5, 33137
10 Ricart Gallery
3900 NE 1 st Ave., 33137
11 Spinello Gallery
155 NE 38th St., 33137
12 Wolfgang Roth & Partners
Fine Artocust
201 NE 39th St., 33137
MIAMI – DOWNTOWN
The Artisan Lounge
500 NE 1st Ave., 33132
Christopher Miro Gallery
@ The Bank Gallery
137 NE 1st Street., 33132
Freedom Tower
Miami Dade College Gallery
System
600 Biscayne Boulevard, 33130
Othón Castaneda Studio
The Artisan Lounge
500 NE 1st Ave., 33132
www.othoncastaneda.net
De la Cruz Collection
Contemporary Art Space
23 N.E. 41st Street, 33127
www.delacruzcollection.org
Dimensions Variable
171 NE 38th Street, 33137
AE District
3852 N. Miami Ave., 33137
Arevalo Gallery
151 NE 40th St. Suite 200,
33130
Phone: 305 860 3311
www.arevalogallery.com
Sri Prabha, The Ethereal Expanse,
mixed media on panel. 22”x22”. Courtesy Sri Prabha Studio Gallery.
Victoria’s Gallery
293 Miracle Mile, 33134
Hunt Slonem, Lories, oil on canvas,
72” x 84”. Courtesy Etra Fine Art.
7 Etra Fine Art
50 NE 40th St., 33137
T 305 438 4383
Sri Prabha Studio Gallery
500 NE 1st Ave., 33132
The Artisan Lounge. Studio M4
Phone: 786 220 2774
info@sriprabha.com
www.sriprabha.com
Hours: Mon-Fri 11:00 - 5:00 pm,
and always by appointment.
FLORIDA l ARTGUIDE
MIAMI the falls — MIAMI WYNWOOD
FEATURED:
6
3
3
5
2
1
1
4
4
2
GALLERY WALK LAST FRIDAY
MIAMI – THE FALLS
Cremata Gallery
1646 SW 8th St., 33135
1
1 Artists at the Falls Studio
12974 SW 89th Ave., 33176
2 Cuba Ocho Art & Research
Center
1465 SW 8th St., 33135
2 ARTSPACE MAGQ
8747 SW 134th St, 33176
3 Avner Zabari Art Furniture
8755 SW 131 St., 33176
Galeria Adelmo / Arte de las
Americas
1165 SW 6 St., 33130
4 Ceramic League of Miami
8873 SW 129 St, 33176
3 Imago Art Gallery
1615 SW 8th St., 33135
5 Caprali Art Studio
8903 SW 129 St., 33176
4 Latin Art Core
1600 SW 8th St., 33135
Demandt Architecture
8886 SW 129th Terrace, 33176
Marta G. Ismail
1516 SW 8th St., 33135
Pyramid Studios
8890 SW 129 Terrace, 33176
Mildrey Guillot
1654 SW 8th St., 33135
Puchi Art Studio, Inc.
8905 SW 129 St., 33176
Molina Art Gallery
1634 SW 8th St., 33135
Upscale Furniture
Consignment Gallery
8845 SW 132nd St., 33176
Obrapia Fine Arts
1648 SW 8th St., 33135
6
6
2
7
3
8
4
9
MIAMI – LITTLE HAVANA ( 8 St. )
Tower Theatre
1508 SW 8th St., 33135
Agustin Gainza
1652 SW 8th St., 33135
Unzueta Gallery
1607 SW 8th St., 33135
1
5
GALLERY
MUSEUM
ARTIST STUDIO
MIAMI – MIAMI BEACH
MIAMI – SOUTH MIAMI
Art Photo Expo
910 Lincoln Rd., 33139
Instituto Cultural de Mexico –
Miami
5975 SW 72nd St.
Suite 101, 33143
Art Vitam Gallery
P.O. Box 190975, 33119
Art/Center South Florida
Bass Museum of Art
2121 Park Ave., 33139
T 305 673 7530
www.bassmuseum.org
Wed-Sun 12-5
Collection Privee de Peinture et
de Sculpture
Galeria del Sol
1628 Michigan Ave., 33139
Jewish Museum of Florida
301 Washington Ave., 33139
Lemon Sky: Projects + Editions
5700 Collins Ave., 33140
Miami Gallery
Tableau Fine Art Group, Inc.
5840 Pine Tree Drive, 33140
The Wolfsonian – Florida
International University
1001 Washington Ave., 33139
4
Amy Alonso Gallery
750 NE 124 Street, Suite # 2,
33161
Art Nexus Store
12502 NE 8 Ave, 33161
6
7
1
3
9
MIAMI – WYNWOOD
Carel Gallery
Ambrosino Gallery
769 NE 125th St., 33161
5
Sunset Gallery and Framing
5865 Sunset Dr., FL 33143
Britto Central
MIAMI – NORTH MIAMI
8
PRIVATE COLLECTION
Basha Gallery
795 NE 125 Street, 33161
A. Dale Nally, Fusion 23, 2011, oil on
canvas, 36” x 48.” Courtesy of A. Dale
Nally Studio.
1 A. Dale Nally Studio
2315 NW 2nd Ave., 33127
T 305 724 6021
Hours: Tue. – Sat. 1 – 5pm
www.adalenally.com
dalenally@hotmail.com
New Paintings by Nationally
Recognized Painter A. Dale
Nally.
Extended Art Basel Hours:
December 1-4, 10 am – 9 pm
Available by appointment and
for Wynwood Gallery Walks (2nd
Saturdays of the month 7-10 pm)
32 Abba Fine Art
233 NW 36th St., 33127
1 Abro Gallery
2137 NW 2nd Ave., 33127
T 786 348 2100
www.abrogallery.com
31 Alberto Linero Gallery
2294B NW 2nd Ave., 33127
2 Alejandra Von Hartz Gallery
2630 NW 2nd Ave., 33127
Art Nouveau Gallery
348 NW 29th Street, 33127
CS Gallery
787 NE 125 Street, 33161
ARTOPIA
1753 NE 2nd Ave. 33132
Phone 305 374 8882
www.artopiamiami.com
Museum of Contemporary
Art – MoCA
770 NE 125 St., 33161
Artseen – New World School of
the Arts
2215 NW 2nd Ave., 33127
XINQO Art Studio
783 NE 125 Street, 33161
Ascaso Gallery
2441 NW 2nd Ave., 33127
2
ARTGUIDE l FLORIDA
FEATURED:
GALLERY
MUSEUM
Avant Gallery
Bakehouse Art Complex
561 NW 32nd St., 33127
T 305 576 2828 / www.bacfl.org
Sun-Sat 12-5 24 Bernice Steinbaum Gallery
3550 North Miami Avenue, 33127
ARTIST STUDIO
MIAMI-WYNWOOD
PRIVATE COLLECTION
(Between 25th & 26th St.)
Phone: 786 357 0568
Fax: 305 892 4192
Hours: Tue-Fri 12 n - 5 pm
Email: milabello@aol.com
www.curatorsvoiceartprojects.
com / www.milagrosbello.com
TITANS, By Magaly BarnolaOtaola
Thu February 11, 2012
Time and Place, By Susy Iglicki
Opening Reception: November
28, 2011, 7-11 pm
Thru January 14, 2012
Curated by Milagros Bello, Ph.D.
Art Basel Gallery Hours: Nov. 30
– Dec. 3, 11 am – 11 pm
D & G Art Design Gallery
540 NW 28th St., 33127
Saturday: 11 am - 4 pm
Soft Opening: Down & Under:
Consuelo Castañeda, Gastón
Ugalde and Milton Becerra
Nov. 26, 2011 - February 4, 2011
Opening Reception: December 3,
2011, 7-10 pm
Alejandro De Narváez. Courtesy
Galería Baobad.
3 Galería Baobad
46 Northwest 36th Street, 33127
Phone: 305 409 0709
miami@galeriabaobab.com
galeriabaobab1@gmail.com
www.galeriabaobab.com
Pablo Lehman, Freud’s Book, 2011,
cut-out vynil, 51” x 71”. Courtesy of
the artist and Black Square Gallery.
Daniel Azoulay Gallery
120 Buena Vista Blvd (Midtown),
33137
Galerie Emmanuel Perrotin
194 NW 30th St., 33127
Black Square Gallery
2248 NW 1st Place, 33127
Phone 305 424 5002
anna@blacksquaregallery.com
www.blacksquaregallery.com
Tue-Sat: 10 am – 6 pm
Drean Catcher Contemporary
Project. Second edition
Artists: Pablo Lehmann, Zhanna
Kadyrova, SYN group, Emilio
Garcia, Alexei Sai.
Thru December 31, 2011
Victor Sydorenko: The Levitation
January 5 - February 23, 2012
Danilo Gonzalez Gallery
2732 NW 2nd Ave., 33127
Galerie Schuster Miami
2085 NW 2nd Ave., 33127
6 David Castillo Gallery
2234 NW 2nd Ave., 33127
Gallery 212
2407 NW 2nd, Ave., 33127
Diana Lowenstein Fine Arts
Gallery Diet
174 NW 23rd St., 33127
Dina Mitrani Gallery
2620 NW 2nd Ave., 33127
Gary Nader Fine Art
62 NE 27th St., 33137
Dorsch Gallery
151 NW 24th St., 33127
Hammer and Block
Auctioneers
415 NW 26 St., 33127
10 Butter Gallery
2303 NW 2nd Ave., 33127
Phone 305 303 6254
www.buttergallery.com
paco@buttergallery.com
Tue. – Sat. 12 - 6 pm
9 Dot FiftyOne Art Space
51 NW 36 St., 33127
37
Charest Weinberg Gallery
250 NW 23rd Street, 33127
5
7
8
13
34
15 Harold Golen Gallery
2294 NW 2nd Ave., 33127
T 305 989 3359
www.haroldgolengallery.com
harold@haroldgolengallery.com
Ideobox Art Space
2417 N Miami Ave., 33127
InterFlight Studio
250 NW 23rd St., 33127
28 KaBe Contemporary Gallery
123 NW 23 Street. 33127
11 Durban Segnini Gallery
2145 NW 2nd Ave., 33127
Edge Zones
47 NE 25th St., 33127
3 Elite Art Editions Gallery
T. 754 422 5942
www.elitearteditions.com
german@elitearteditions.com
EVLWORLD
2345 NW 2nd Ave., 33127
12 Fredric Snitzer Gallery
2247 NW 1st Place, 33127
Magaly Barnola-Otaola, The Astronaut
I, 2011, digital print on light box. Courtesy of the artist and Curator’s Voice.
Ron English, Raising the Brow, oil on
canvas. Courtesy Harold Golen Gallery.
GAB Studio
26 Curator’s Voice Art Projects
Contemporary Art Gallery
2509 NW 2nd Ave. 33127
Salustiano, Black Iride. Courtesy
Kavachnina Contemporary.
Consuelo Castañeda, Untitled
(Homage to Gego), 2011, mixed
media, variable dimensions. Courtesy
of the artist and Hardcore Art Contemporary Space.
14 Hardcore Art Contemporary
Space
70 NW 25th St, Miami, FL, 33127
Phone 305 576 1645 / 786 319
0162
www.hardcoreartmiami.com
info@hardcoreartmiami.com
Tue. - Fri. 10 am - 5 pm
3 Kavachnina Contemporary
Phone: 305 448 2060
gala@kavachnina.com
www.kavachnina.com
Tue.- Fri. 11 am - 5 pm.
Sat. Noon-5 pm, and by
appointment
Salustiano
Dec. 3, 2011 - Feb. 3, 2012
Sculpt Miami 2012
Fair Hours: November 29, VIP
Preview & Press, 6 – 10 pm
FLORIDA l ARTGUIDE
FEATURED:
GALLERY
MUSEUM
ARTIST STUDIO
PRIVATE COLLECTION
GALLERY WALK 2ND SATURDAY
MIAMI-WYNWOOD
ART FAIRS
WYNWOOD
ART ASIA
3401 NE 1st Ave. Midtown.
Nov. 30: 11 – 6 / Dec. 1, 2,
3: 11 – 7 / Dec. 4: 11 – 6
ART MIAMI
3101 NE 1st. Ave. Midtown
Nov. 30 and Dec. 1, 2, 3:
11 – 7 / Dec. 4: 11- 6
FOUNTAIN
2505 North Miami Ave.
Dec. 2 and 3:11-7 / Fri and
Sat events: 7 – midnight
PULSE MIAMI
The Ice Palace
1400 North Miami Ave.
Dec. 1, 2, 3 : 1 – 7
Dec. 4: 11 – 5
ARTS FOR A BETTER
WORLD
ART NOW
Catalina Hotel
1732 Collins Ave
Dec. 1: 11 – 10/ Dec 2 and
3: 11 – 8 / Dec.: 4 12 – 6
BURST
Miami Beach Art Deco
Center
MIAMI BEACH
AQUA
Aqua Hotel in South Beach
1530 Collins Ave
Dec. 1, 2,3: 11 – 8 / Dec. 4:
11 – 4
ART BASEL
Miami Beach Convention
Center- Halls D & B
1901 Convention Center Dr.
Dec. 1, 2, 3: 12 – 8
Dec. 4: 12 – 6
ART ASIA
SCOPE
DESIGN MIAMI
Meridian Avenue & 19th
Street.
Nov. 30 and Dec 1, 2, 3:
12 – 8 / Dec. 4: 12 – 6
5
1
16 23
36
20
13
34
2
25
26
fountain
38
21
14
39
1
10 35
31
28
29
12 37
15
6
WYNWOOD
ART DISTRICT
11
1
27
7
PULSE
NADA
NADA
Deauville Beach Resort
6701 Collins Avenue
Dec. 1, 2, 3: 2 – 8
Dec. 4: 11 – 5
POOL ART FAIR
Sadigo Court Hotel
20th street and Park Avenue
Dec. 2, 3, 4: 3 – 10
VERGE
The Greenview Hotel
1671 Washington Ave
(17th St.)
Dec. 1, 2, 3: 12 – 8
Dec. 4: 12 – 6
ART MIAMI
RED DOT
2
8
INK
Suites of Dorchester Hotel
1850 Collins Ave. (19th St.)
Nov. 30: 10 – 5 / Dec. 1, 2,
3: 10 – 7 / Dec. 4: 10 – 3
Nov. 30: 11-7 / Dec. 1,2,3,4:
11 am - 8 pm
24
SCULPT MIAMI
1001 Ocean Dr. & 10th St.
Dec. 1,2,3, 4: 11-7
SCOPE MIAMI
NE 1st. Ave, (Midtown Blvd.
@ NE 30th St.)
46 NW 36 St.
Red Dot Art Fair Tent, 3011
NE 1st Ave.
3
18
Miami Beach Convention
Center P-Lot
SCULPT MIAMI (Two
venues)
SCULPT MIAMI
Surfcomber Hotel
1717 Collins Ave.
Nov.30 / Dec 1 - 4: 11 - 10
RED DOT
3011 NE 1st. Ave. Midtown
Nov.30 and Dec. 1, 2, 3:
11 – 8 / Dec. 4: 11- 6
Nov. 30 and Dec 1, 2, 3:
11 – 7 / Dec. 4: 11 – 6
33 9
32
POOL
INK MIAMI
DESIGN MIAMI
ART NOW
ARTS FOR
A BETTER WORLD
vERGE
AQUA
BURST
ARTGUIDE l FLORIDA
FEATURED:
GALLERY
MUSEUM
November 30, 11 am –7 pm
December 1 – 4, 11 am - 8 pm
VIP Event, December 3, 8 pm11pm. Sculpt Miami Collection
will be on view from December 6,
2011 to October 30, 2012.
ARTIST STUDIO
MIAMI-WYNWOOD
PRIVATE COLLECTION
Celebrating 21 Years of Art
Nov. 30, 2011 - Feb. 2, 2012
Opening Reception: December 3,
4-10 pm
Rodolfo Vanmarcke, Donkey I, 2008,
photography. Courtesy of the artist
and The Lunch Box.
Heriberto Mora, Blind Flight, oil on
canvas, 68” x 78”. Courtesy Kelley
Roy Gallery.
Kelley Roy Gallery
50 NE 29th St., 33127
T 305 447 3888
www.kelleyroygallery.com
Tue-Fri 11–5, Sat Noon-5 and
always open by appointment.
2nd Saturday Art Walk, 7-9 pm
Albert Paley
Heriberto Mora
Nov. 26, 2011- Jan. 28, 2012
16
36 Kiwi Gallery
38 Kondoit
167 NW 25 Street, 33137
La Nu’s Barbershop Gallery
3040 NW 2nd Ave. Suite B,
33127
Keren, Geometry of the Body, 2010,
Museum Dar-sec Metallic Photographic Paper on Plexiglas. Copyright
Keren. Courtesy Lelia Mordoch Gallery.
29 Lelia Mordoch Gallery
2300 North Miami Ave. 33127
Phone 786 431 1506
www.galerieleliamordoch.com
lelia.mordoch.gallery@gmail.com
Is Art and Antidepressant?
EcoArtFashion by Luis Valenzuela,
Wrap Yourself In Art, 2011. Up-Cycle
Couture . Photo courtesy LMNT.
33 LMNT
55 NW 36 St, 33127
Phone 877 525 LMNT
Phone # 2: 305 572 9007
www.l-m-n-t.com
info@l-m-n-t.com
Open to Public: Monday - Friday,
11am - 7pm
Saturday 12pm - 5pm
(Open for Saturday and Thursday
ArtWalks)
A full bar and bistro preview menu
will be available from Nov. 28 Dec. 4, 10 am - 11 pm.
THE HUMAN CLOTH: Luis
Valenzuela + Tatiana Blanco +
Barry Gross + Reinier Gamboa
+ Edgar Nano Sanchez + Angel
Vapor + Lisset Castillo + Billie
Grace Lynn + Fenol Marcelin
Nov. 28 - Dec. 11, 2011
Collectors Preview: Nov. 28, 3 - 7
pm / EcoArt Fashion Show: Wrap
Yourself in Art, 8:30 pm
Opening night party, Kicking
off the EcoArtFashion Week,
“Biospherians” up-cycled couture
by Luis Valenzuela.
Nov. 29: Tours and Lectures,
3-7pm / Kariza Dream Fashion
Show, at 8:30 pm / The
Photoshoot, 9:00 pm
Nov. 30: The Elements of Music,
hosted by Latin Grammy winners,
8:00 pm
Dec. 1: Haired: a multimedia
exhibition and art event
developed around the theme of
hair. 3-10 pm
Dec. 2 & 3, After Party, DJ
performance and full bar, 8 pm
- 2 am
Dec. 4: Gallery Hours 10 am - 7
pm.
Luis Perez Galeria
550 NW 29 th St., 33127
18
39 The Lunch Box Gallery
The space for contemporary
photography and etc…
Phone: 305.407.8131
www.thelunchboxgallery.com
info@thelunchboxgallery.com
Hours: 11 am - 5 pm
Isolations
Nov. 28, 2011 - Feb. 25, 2012
20 MAC Art Group
2727 NW 2nd Ave., 33127
T 305 572 9860
www.macartgroup.com
Gustavo Acosta, Dania Beach,
2011, acrylic on canvas, 40” x 40”.
Courtesy of the artist and Pan American Art Projects.
21 Pan American Art Projects
2450 NW 2nd Ave., 33127
T 305 573 2400
F 305 573 0720
www.panamericanart.com
miami@panamericanart.com
Hours Tue-Fri 10-6 pm,
Sat 12-6 pm
Gallery Walk, 2nd Saturday, 2 – 9 pm
Fragmentos. Jose Manuel Fors
Thru Dec. 5, 2011
Urbanitas
Dec. 10, 2011 - Feb. 4, 2012
1 The Margulies Collection At
The Warehouse
591 NW 27th St., 33127
Miguel Paredes Fine Art Gallery
35 Myra Galleries
177 NW 23rd Street., 33127
O.Ascanio Gallery
2600 NW 2nd Ave, 33127
OnlineWall Fine Art
169 NW 36 St., 33127
ARTDISTRICTS
FLORIDA
ADVERTISE HERE
786-274-3236
Guerra de la Paz, from the series
Barbed: 9 (detail), 2010, archival ink
jet print on etching paper, 60” x 40.”
Courtesy Praxis International Art.
Praxis International Art
2219 NW 2nd Ave., 33127
Phone: 305 573 2900
Fax: 305 5738900
www.praxis-art.com
wynwood@praxis-art.com
Tue - Sat, 10 - 6pm
Mondays by appointment only
Guerra de la Paz - Barbed
Thru Dec. 31, 2011
Robert Fontaine Gallery
175 NW 23rd St., 33127
2 Rubell Family Collection
95 NW 29th St., 33127
FLORIDA l ARTGUIDE
MIAMI-WYNWOOD — orlando
FEATURED:
University of Miami Wynwood
Projects Space
2200 NW 2nd Ave., 33127
1
3
Waltman Ortega Fine Art
2238 NW 1st Place, 33127
Whale & Star. The Studio of
Enrique Martínez Celaya
2215 NW 1st Place, 33127
World Class Boxing
170 NW 23rd St., 33127
Yeelen Art Gallery
250 NW 23rd St., 33127
GALLERY
MUSEUM
ARTIST STUDIO
Galerie du Soleil
393 BRd. Ave. South, 34102
NOKOMIS
7 Gallery Susan deWitt
5405 Taylor Rd., 34109
Elder’s Fine Art & Antiques
901 S. Tamiami Trail, 34275
8 Gardner Colby Gallery I
NORTH MIAMI
see Miami – North Miami
Gardner Colby Gallery II
9
10 Harmon-Meek Gallery
599 9th St. North, 34102
12
4
8
6
25 Zadok Art Gallery
2534 North Miami Ave, 33127
Hours: Tuesday - Friday 10am –
7pm, Saturday 11am – 6pm
Phone 305-438-3737 / Fax: 305
438 3738
info@zadokgallery.com
www.zadokgallery.com
Art Basel Week: Chen Man,
Lewis Tardy, Lori Kirkbride,
Hunter Jonakin
Dec. 1 - 6, 2011
Winter Exhibition: Chen Man,
Sasha Meret, Lori Kirkbride
Dec. 2011 - Feb. 2012
MIAMI BEACH
Rómulo Aguerre, Untitled, 1954,
8.46” x 6.29”. Courtesy Sammer
Gallery.
see Miami – Miami Beach
NAPLES
Alan Brown Gallery
901 7th St. South, 34102
Seth Jason Beitler
250 Northwest 23rd St., 33127
The Darvish Collection, Inc.
1199 Third St. South, 34102
The Englishman Fine Art &
Antiques
1170 Third St South, 34102 Appleton Museum of Art
4333 E Silver Springs Blvd. 34470
www.appletonmuseum.org
OCHOPEE
Marianne Friedland Gallery
359 Broad. Ave. South, 34109
Marine Arts Gallery
4250 Gulf Shore Blvd. North, 34103
Naples Museum of Art
5833 Pelican Bay Blvd. , 34108
T 239 597 1900 / 239 597 1111
www.thephil.org
1
Clyde Butcher Big Cypress
Gallery
52388 Tamiami Trail, 34141
ORLANDO
Baterbys Art Auction Gallery
9101 International Drive, 32819
Bold Hype
1844 East Winter Park Rd., 32803
Native Visions Gallery
737 5th Ave. South, 34102
City Arts Factory
29 South Orange Ave., 32801
13 Rick Moore Fine Art Gallery
4230 Gulf Shore Blvd. North,
34103
Clay Bodies Gallery
801 Virginia Dr., 32803
Rosen Gallery & Studios
North Line Plaza
2172 J&C Boulevard, 34110
14 Shaw Gallery
761 Fifth Ave. South, 34102
15 Trudy Labell Fine Art
2425 Tamiami Trail North, 34103
The Von Liebig Art Center
585 Park St., 34102
16 Weatherburn Gallery
452 Bayfront Place, 34102
5
6 Eckert Fine Art - Naples
390 12th Ave. South, 34102
OCALA
11 Longstreth Goldberg
5640 Taylor Rd., 34109
4
DeBruyne Fine Art
275 Broad. Ave. South, 34102
see Miami – North Miami Beach
Robert Slack Fine Art
3060 SW 53rd St., 34474
1
23 Sammer Gallery
82 NE 29th St., 33137
T 305 441 2005/305 576 1995
info@sammergallery.us
www.artnet.com/sammergallery.
html / Mon-Fri 10-6
Art Basel Week: Ana Sacerdote
Dec. 1- 4, 2011
Romulo Aguerre
Nov. 29 - Dec. 6, 2011
NORTH MIAMI BEACH
HW Gallery
1391 Third St. South, 34102
12
Lori Kirkbride, Green Monster.
Courtesy Zadok Art Gallery.
Harris House of Atlantic Center
for the Arts
214 South Riverside Drive, 32168
Gallery Matisse
1170 3rd St. South, 34102
Holocaust Museum of
Southwest Florida
4760 Tamiami Trail North,
Suite 7, 34103
15
PRIVATE COLLECTION
NEW SMYRNA BEACH
Arts on Douglas Fine Art &
Collectibles
123 Douglas St., 32168
Atlantic Center for the Arts
1414 Art Center Ave, 32168
Comma Gallery
813 Virginia Dr., 32803
Creative Spirit Art Gallery
820 Lake Baldwin Ln., 32803
Galleria Portofino
5601 Universal Blvd., 32819
Gallery Q
The Grand Bohemian Gallery
Mennello Museum of
American Art
900 East Princeton St., 32803
Millenia Fine Art
555 S. Lake Destiny Drive, 32810
Orlando Museum of Art
2416 North Mills Ave., 32803
www.omart.org
ARTGUIDE l FLORIDA
FEATURED:
GALLERY
MUSEUM
ARTIST STUDIO
orlando — St. petersburg
PRIVATE COLLECTION
Barbara Sorensen: Topographies
January 7 - April 1, 2012
Present Global Art Gallery
5301 South Dixie Highway, 33405
Suz Letzig Gallery
1212 Woodward St., 32803
Russeck Gallery
203 Worth Ave., 33480
Wyland Galleries of Florida
170 Sunport Lane, 32809
Select Fine Art
339 Worth Ave., 33480
ORMOND BEACH
Society of the Four Arts
2 Four Arts Plaza, 33480
Ormond Memorial Art
Museum and Gardens
78 East Granada Blvd., 32176
PALM BEACH
1 A.B. Levy
211 Worth Ave., 33480
Arcature Fine Art
318 Worth Ave., 33480
Art Wise International
350 S. County Rd., 33480
Balatro Gallery
408 Hibiscus Ave., 33480
DTR Modern Galleries
345 Worth Ave., 33480
2 Edward and Deborah Pollack
205 Worth Ave., 33480
Galeria of Sculpture
11 Via Parigi – Worth Ave., 33480
3 Gallery Biba
224-A Worth Ave., 33480
4 Gasiunasen Gallery
415 Hibiscus Ave., 33480
Gavlak Gallery
249 B Worth Avenue, 33480
5 Hangen Thompson Gallery
326 Peruvian Ave., 33480
6 Holden Luntz Gallery
256 Worth Ave., 33480
7 Irving Galleries
332 Worth Ave., 33480
John H. Surovek Gallery
349 Worth Ave., 33480
8
Wally Finlay Galleries
International, Inc.
165 Worth Ave., 33480
Big Arts Center
900 Dunlop Rd. 33957
SANTA ROSA BEACH
Weatherall Fine Art
3730 Scenic Highway 30-A West,
32459
SARASOTA
9
Allyn Gallup Contemporary Art
1419 5th St., 34236
Whitehall Flagler Museum
One Whitehall Way, 33480
Art Center Sarasota
707 North Tamiami Trail, 34236
Zaras Antiques
334 Worth Ave., 33480
Art Uptown Gallery
1367 Main St., 34236
PALM BEACH GARDENS
The Collectors Wall
4976 South Tamiami Trail, 34231
Onessimo Fine Art
4530 PGA Blvd., 33418
Studio E. Gallery
4600 Pga Blvd., 33418
PEMBROKE PINES
The Art Gallery – Broward College
7200 Pines Blvd., 33024
PENSACOLA
Pensacola Museum of Art
407 S. Jefferson St., 32502
T. 850 432 6247
F. 850 469 1532
www.pensacolamuseumofart.org
info@pensacolamuseumofart.org
Tue-Fri 10-5, Sat-Sun 12-5
Woven and Wrapped: Kimonos,
Clothing and Culture of Early
20th Century Japan
Thru Feb. 12, 2012
Visual Arts Gallery - Junior
College
1000 College Blvd., 32504
PONTE VEDRA
Margo Buccini Paintings
P.O. Box 2232, 32004
Stellers Gallery of Ponte Vedra
240 A1A North, 32082
Liman Gallery
139 North County Rd., 33480
SAFETY HARBOR
Michali Gallery
Syd Entel Galleries
247 Main St., 34695
Mulry Fine Art
SANFORD
Phillips Galleries
336 Worth Ave., 33480
SANIBEL
Jeanine Taylor Folk Art
211 East First St., 32771
Crissy Galleries
640 S. Washington Blvd., 34236 Dabbert Gallery
76 South Palm Ave., 34236
Elizabeth Rice Fine Art
1467 Main St., 34236
Galleria Silecchia
12 S. Palm Ave., 34236
20 S. Palm Ave., 34236
Butterfield Garage Art Gallery
137 King St., 32084
City Gate Gallery
1 St. George St., 32084
Coleman Gallery
65 King St., 32084
Crooked Palm Gallery
75 King St., 32084
Cutter & Cutter Fine Art Galleries
120 Charlotte St., 32084
Galeria Del Mar
9 King St., 32084
The Gallery at Screen Arts
228 W. King St., 32084
The Imaginarium
8 Cathedral Place, 32084
Lightner Museum
75 King St., 32804
Love’s Art Emporium
8 Cathedral Place, 32084
Mullet Beach Gallery
51 Cordova St., 32084
Rembrandtz
131 King St., 32084
Sydney Mckenna Gallery
5 Inlet Pl., 32080
Hodgell Gallery
46 Palm Ave. South, 34236 ST. PETERSBURG
Howard Schickler Fine Art
PO Box 49227, 34230
Cakewalk Artists’ Co-op
1114 Central Ave N., 33705
The John and Mable Ringling
Art Museum
5401 Bay Shore Rd., 34243
Chihuly Collection By Morean
Art Center
400 Beach Drive, 33701
Katherine Butler Gallery
1943 Morrill St., 34236
Craftsman House Gallery
2955 Central Ave, 33713
Museumpiece Inc.
P.O. Box 20309, 34276
Crystal Mirage Gallery
800 2nd Ave. NE, 33501
Paradise Gallery
5670 Palmer Blvd., 34232
Florida Craftsmen Gallery
501 Central Ave., 33701
R & R Bond Galleries
18 South Blvd. of the Presidents,
34236
Florida International Museum
244 Second Ave. North, 33701
ST. AUGUSTINE
Mindy Solomon Gallery
124 2nd Ave N.E., 33701
Absolute Americana Art Gallery
77 Bridge St., 32084
Morean Arts Center
719 Central Ave., 33701
Brilliance In Color
25 King St., 32084
Museum of Fine Arts
255 Beach Dr. N.E., 33701
FLORIDA l ARTGUIDE
ST. PETERSBURG — vero BEACH
FEATURED:
GALLERY
MUSEUM
ARTIST STUDIO
First Friday Gallery Strolls
2
7
6
8
3
5
1
9
4
10
11
Nancy Markoe Gallery
3112 Pass-A-Grille Way, 33706
Nestor Haverly Gallery
25 2nd St. North, 33701
Red Cloud Indian Arts Gallery
208 Beach Drive N.E., 33701
The Salvador Dali Museum
Collection
One Dali Boulevard, 33701
T 727 823 3767
F 727 894 6068
www.salvadordalimuseum.org
info@salvadordalimuseum.org
Mon-Wed 10-5:30, Thu 10-8, FriSat 10-5:30, Sun 12-5:30
Sebastian Thomas Gallery
635 Central Ave, 33701
Shapiro’s at BayWalk
185 Second Ave. N., 33701
St. Petersburg Clay Company
420 22nd St. South, 33712
St. Petersburg Museum of
History
335 Second Ave NE, 33701
Studio Encanto
209 First St. NE, 33701
STUART
Court House Cultural Center
80 East Ocean Blvd., 34994
Profile International Galleries of
Fine Art
3746-48 East Ocean Blvd., 34996
Ron Renner Gallery
649 SE Central Parkway, 34994
SUNRISE
Louis J. Dianni
Antique Marine Art
1304 SW 160th Ave., 33326
SURFSIDE
Lions Gallery
9300 Harding Ave., 33154
1
12
TALLAHASSEE
Capitol Complex Galleries
Florida Dept. of State
400 S. Monroe St., 32301
LeMoyne Art Foundation
125 N Gadsden St., 32301
The Mary Brogan Museum of
Art and Science
350 S. Duval St., 32301
Museum of Fine Arts –
Florida State University
250 Fine Arts Building, 32306
TAMPA
Bleu Acier
120 W Gasparilla Plaza, 33602
Brad Cooper Gallery
1712 E 7th Ave., 33605
USF Contemporary Art
Museum
4202 East Fowler Ave. CAM 101,
33620
PRIVATE COLLECTION
The Artists Guild Gallery is a
cooperative gallery of 19 local
artists (painting, sculpture,
jewelry, pottery, raku, glasswork,
ceramics, prints, etc.)
Little Gems, small affordable
works, all under 15” by Gallery
members
Thru December -31, 2011.
Opening reception: Friday
December 2, 5-8 pm
Diverse Works by Jerry Stone,
works in oil and acrylic
Thru January 31, 2012
Opening reception Friday,
January 6, 5-8 pm
TARPON SPRINGS
Leepa-Rattner Museum of
Art
600 Klosterman Rd., 34689
TEQUESTA
Lighthouse Center For The Arts
373 Tequesta Dr., 33469
VENICE
2 Cultural Council of Indian
River County
2041 14th Avenue, 32960
Phone 772 770 4857
info@cultural-council.org
www.cultural-council.org
3D District’s First Friday “Gallery
Stroll,” 1st Friday of the month,
5-8 pm.
Native American Fine Art
4402 Via Del Villetti Drive, 34293
Venice Gallery & Studio
237 Warfield Ave., 34285
VERO BEACH
Clayton Galleries
4105 South MacDill Ave., 33611
Courtesy Flametree Clay Art Gallery
Florida Museum of
Photographic Arts
200 N. Tampa St., 33602
3 Flametree Clay Art Gallery
2041 14th Avenue, 32960
Phone: 772.559.5473
www.flametreeclay.com
Gallery Hoffman Porges
1907 East 7th Ave., 33605
Graphicstudio / Institute for
Research in Art
3702 Spectrum Blvd., 33612
Michael Murphy Gallery
2701 S. MacDill Ave., 33629
Nuance Galleries
804 S Dale Mabry, 33609
Orange Park Gallery
International, LLC
1215 North Franklin St., 33602
Tampa Museum of Art
120 W. Gasparilla Plaza, 33602
Jerry Stone, Yacht Basin, acrylic,
30”x20”. Courtesy Artists Guild
Gallery.
1 Artists Guild Gallery
1974 14th Avenue, 32960
Phone 772 299 1234
www.artistsguildgalleryverobeach.
com
3D District Summer Stroll: 1st Fri.
5-8 pm Winter Hours: Mon. – Fri.
10 am – 5 pm, and Sat. 11 am
– 3 pm
Opened by appointment.
Lila Blakeslee, The Path, acrylic,
24”x30”. Courtesy of the artist and
Gallery 14.
4 Gallery 14
1911 14th Avenue, 32960
Phone 772 562 5525
www.gallery14verobeach.com
ARTGUIDE l FLORIDA
FEATURED:
GALLERY
MUSEUM
Hours June & July: Thurs.– Fri.
10am-4pm & Sat. 10am-2pm, or by
appointment.
Gallery 14 Partners: Edgardo
Abello, Lila Blakeslee, Barbara
du Pont, Mary Ann Hall, Virginia
Knapp, Barbara Landry, Deborah
Morrell Polackwich, Dorothy
Napp Schindel.
Downtown Dine and Design
District, the Art Destination of the
Treasure Coast.
Our Beautiful Ocean. Second
annual invitational to benefit
Florida Atlantic University’s
Harbor Branch Oceanographic
Institute.
Dec. 1, 2011 - Jan. 7, 2012
Reception Fri. Dec. 2, 5-8pm,
Last Call Reception: Fri. Jan. 6,
5-8pm
Many Splendid Things - Jan
Taylor, Emily Heinzel Jane
Howard.
January 10 - 28, 2012
Reception Fri. Jan. 20, 5-8pm
Indian River Charter High
School
6055 College Lane, 32966
Phone 772 567 6600
www.irchs.org
5
ARTIST STUDIO
vero BEACH — winter park
PRIVATE COLLECTION
Reception Jan. 19, 6:00 pm
Jan. 19 - Feb. 18, 2012
4 South Florida Science
Museum
4801 Dresher Trail North, 33405
WHITE SPACE The Mordes
Collection
2805 N. Australian Ave, 33407
Gallery view. Courtesy Tiger Lily Studio
& Gallery
10 Tiger Lily Studio & Gallery
1903 14th Avenue, 32960
Phone 772.778.3443
www.tigerlilyvero.com
Mela Ansereo, Freedom of Life.
Courtesy the artists and Island Images
Gallery of Hope.
7 Island Images
Gallery of Hope
Photographic Gallery
2036 14th Avenue, Suite 101,
32969
T. 772 643 6994
www.galleryofhope.org
info@galleryofhope.org
Hours: Tues. & Thurs. 10 am – 8
pm, Wed. & Fri. 10 am – 5 pm,
Sat. 10 am – 4 pm
Meghan Candler Gallery
Village Shops. 6270 Highway
A1A North, 32963
Phone: 772 234 8811
www.meghancandlergallery.com
8
11 Tropic Art & Frame
1910 14th Avenue, 32960
Phone: 772 567 9400
www.tropicartandframe.com
1 Vero Beach Museum of Art
3001 River Park Drive, 32963
Phone 772 231 0707
www.verobeachmuseum.org
Summer Hours: Closed Mondays,
Tue-Sat: 10 am–4:30 pm, Sun 1
pm-4:30 pm
Vero Beach Art Club
3001 Riverside Park Drive, 32963
Phone 772 231 0303
www.verobeachartclub.org
WEST PALM BEACH
The Armory Art Center
1700 Parker Ave., 33401
6 Intrepid Art Gallery
Pelican Plaza
4807 North AIA, 32963
Phone 772 913 1122 / 786 227
3481
Intrepidartgallery.blogspot.com
intrepidartgallery@att.net
Tue – Sat 10 – 6 pm, and Sunday
by appointment.
Cristina de la Vega, Obra Reciente
Reception: Dec. 8, 2011, 6:00 pm
Dec. 8 - Jan. 5, 2011
Pamela Pike Gordinier, Am I? I am?
9 Palm House Gallery
3227 A Ocean Drive,
upstairs, 32963
Phone 772.231.6816
www.palmhousegallery.com/
Exhibits & Classes by Member
Artists. Hours by chance or by
appointment
Visit our website to see our
complete schedule of classes,
exhibitions, workshops and events.
ADVERTISE HERE
786-274-3236
WILTON MANORS
Ellen Charapko Gallery
2374 Wilton Drive, 33305
WINTER GARDEN
Winter Garden Heritage
Foundation
1 Plant St., 34787
WINTER HAVEN
Ridge Art Association
210 Cypress Gardens, 33880
WINTER PARK
Albin Polasek Museum &
Sculpture Gardens
633 Osceola Ave., 32789
Cornell Fine Arts Museum –
Rollins College
1000 Holt Avenue, 32789
The Charles Hosmer Morse
Museum of American Art
445 North Park Ave., 32789
Frames Forever & Art Gallery
941 Orange Ave., 32789
Eaton Fine Art, Inc.
435 Gardenia St., 33401
Kathy Ferrell, Splash. Courtesy Palm
House Gallery.
Fine Art Acquisitions
318 Indian Trace, 33326
12
1 Ann Norton Sculpture
Gardens
253 Barcelona Rd., 33401
Carolina Rojas, Golden Seeds,
2011, clear resin. Courtesy Intrepid
Art Gallery.
WESTON
Historical Society of Palm
Beach County
300 N. Dixie Highway, 33401
2
11 Mary Woerner Fine Arts
3700 S Dixie Highway # 6, 33405
Fredlund Wildlife Art Gallery
528 Park Avenue South, 32789
Maria Reyes-Jones Gallery
1562 W. Fairbanks Ave., 32789
McRae Art Studios
904 Railroad Ave., 32789
3 Norton Museum of Art
South Olive Ave., 34108
www.norton.org
Timothy’s Gallery
236 Park Avenue North, 32789
12 Red Dot Contemporary
3508 South Dixie Highway, 33405
The Villa Fine Art Gallery
316 N. Park Ave., 32789
ARTDISTRICTS
FLORIDA

florida - ARTDISTRICTS Magazine

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